t'tivtln  t:r 
zzrrz.*  "‘ 

-*•*  * ••I**-  , 


VALUABLE 


SECRETS 


I N 


ARTS,  TRADES,  fyc. 


^ SELECTED  FROM  THE  BEST  AUTHORS, 


AND 


ADAPTED 


TO  THE  SITUATION  OF  THE 


UNITED  STATES. 


Hce  tibi  erunt  Artes  ! Virg. 


fothytyctk  t 


PUBLISHED  BY  EVERT  DUYCKipCK, 
NO.  110  PEARL-STREET, 


1809. 


District  of  New-York,  ss.  Be  it  Remembered,  that  on  tlie 
fifth,  day  of  October,  in  the  thirty -fourth  year  of 
the  Independence  of  the  United  States  of  America, 
L.  S.  Evert  Duyckinck,  of  the  said  District,  hath  depo- 
sited in  this  office  the  title  of  a Book,  the  right 
whereof  he  claims  as  Proprietor,  in  the  words  fol- 
lowing, to  wit  : ^ A 

“ Valuable  Secrets  in  Arts,  Trades,  &c.  selected 'from  the 
<e  best  authors,  and  adapted  to  the  situation  of  tn?  Unit- 
“ ed  States— Hae  tibi  erunt  Artes  ! — Yirg.” 

In  conformity  to  the  Act  of  the  Congress  of  the  United  States, 
entitled,  (i  An  act  for  the  encouragement  of  learning,  by  securing 
44  the  copies  of  Maps,  Charts  and  Books,  to  the  authors  and  pro- 
if  prietors,  of  such  copies,  during  the  time  therein  mentioned, 
4,4  and  also  to  an  act  entitled  an  act  supplementary  to  an  act  en- 
€C  titled  an  act  for  the  encouragement  of  learning  by  securing  the 
copies  of  Maps,  Charts  and  Books,  to  the  authors  and  propri- 
**  etors  of  such  copies,  during  the  time  therein  mentioned,  and 
extending  the  benefits  thereof  to  the  arts  of  designing,  en- 
u graving  and  etching  historical  and  other  prints.5’ 


CHARLES  CLINTON, 

Clerk  of  the  District  of  JSfeiv-Yor 


G.  EON 
3081 


THE  EDITOR’S  PREFACE. 


THE  Arts  cannot  attain  a higher  degree  of  perfection} 
till  more  exact  enquiries  are  made  concerning  eve- 
ry thing  which  can  contribute  towards  facilitating  their 
progress.  It  ought,  therefore,  to  be  the  study  of  every 
individual  to  diffuse  his  observations,  and  extend  his  re- 
searches in  a country  where  he  can  claim  a liberal  en- 
couragement for  new  discoveries  ; and  where  every  work 
which  tends  to  the  promulgation  of  arts  in  general,  meets 
with  ample  reward. 

Among  those  friends  of  the  sciences  who  discharge 
their  duty  in  the  most  becoming  manner,  the  American 
artists,  and  professed  mechanics,  are,  undoubtedly  entitled 
to  the  first  rank,  as  their  experiments  and  productions  are 
of  evident,  and  real  utility  to  their  country. 

It  is  but  of  a late  date  since  those  arts  and  trades  which 
constitute  the  wealth  and  commerce  of  the  European 
Nations,  began  to  receive  the  encouragement  and  support 
of  the  citizens  of  the  United  States,  and  to  increase  their 
lustre,  their  economical  order,  and  their  regular  and  ne- 
cessary distribution  in  this  rising  empire. 

The  present  work  is  a faithful  compilation  of  various 
secrets  in  the  refined  arts  and  trades  ; discoveries  no  way 
unworthy  the  attention  of  Americans. 

The  art  of  Engraving,  yet  in  its  infant  state  here,  will, 
if  not  very  materially  benefited,  at  least  be  settled  upon  a 
more  permanent  basis,  by  a due  observation  of  the  direc- 
tions and  receipts  contained  in  this  volume. 

The  various  combinations  and  compositions  of  metals  ; 
the  art  of  Varnishing,  of  making  mastiches  and  cemen- 
tations ; curiosities  in  glass  and  precious  stones  ; the  mix- 
ture of  colours  in  painting  ; the  art  of  gilding ; dying 
wood,  ivory,  See.  though  seemingly  'of  little  importance 
at  the  first  view,  will  be  found  useful,  if  not  absolutely 
necessary,  towards  facilitating  the  pi€gress  of  those  arts 
in  the  United  States,  where  it  is  hoped  that  taste  and  ele- 
gance will  claim  a proportionable  share  of  the  public’^ 
attention  and  encouragement. 


iv 


THE  EDITOR’S  PREFACE. 


Other  matters  are  added,  useful  to  those  who  wish  to 
be  easily  accommodated  with  the  polite  and  useful  neces- 
saries of  a frugal  life.  They  are  intended  chiefly  for  those 
who  have  had  few  opportunities  to  learn  the  proper  me- 
thods of  making  the  best  use  in  art,  of  those  things  which 
Nature  profusely  lavishes  for  the  promotion  and  increase 
of  domestic  felicity. 

Many  of  the  following  secrets  and  receipts  are  derived 
from  the  works  of  the  first  artists  in  France,  Italy,  Ger- 
many, and  Great-Britain  ; and  the  labours  of  several  emi- 
nent artists  here  have  given  great  assistance  towards  ren- 
dering them  easily  to  be  understood  by  the  most  common 
capacity,  and  more  extensively  useful  to  the  infant  manu- 
factories of  the  United  States. 

That  the  work  might  not  be  altogether  uninteresting 
to  that  great  portion  of  the  people  of  the  United  States 
which  constitute  the  agricultural  part,  many  and  valuable 
essays  on  agriculture,  rural  and  domestic  economy  are 
added,  chiefly  selected  from  American  works  of  known 
and  acknowledged  estimation  and  value. 

In  the  confidence  that  the  American  public  will  always 
be  ready  to  give  proper  encouragement  and  support  to 
every  work  intended  to  promote  the  true  interest  and  las- 
ting good  of  the  United  States,  this  work  is,  without  fur- 
ther preface*  submitted  to  his  fellow-citizens,  by 

THE  EDITOR, 


SECRETS 


IN 


ARTS,  TRADES,  &c. 


CHAP.  I. 

Secrets  relative  to  the  Art  of  Engraving. 


I.  A wax  to  lay  on  iron  or  steel. 

AKE  the  bulk  of  a nut  of  white  wax,  melt  it,  and  add 


to  it  the  size  of  a musket  ball  of  ceruse  of  Venice. — - 


When  both  are  incorporated,  form  this  composition  into 
small  sticks.  With  them  rub  your  piece  of  steel,  or  iron, 
after  having  previously  warmed  it  sufficiently  to  melt  the 
wax,  which  spread  well  over  it  with  a feather.  When  the 
■wax  is  cold,  trace  whatever  you  will  on  it,  and  pass  after- 
wards, on  the  lines  you  have  drawn,  the  following  water. 

II.  A mordant  water  to  engrave  on  steel. 

1.  Take  the  strongest  verjuice  you  can  find;  alum  in 
powder,  and  a little  dried  salt,  pulverised.  Mix  all  together 
till  perfectly  dissolved:  then  pass  some  of  that  water  on  the 
lines  of  your  drawing,  repeating  the  same  till  it  is  sufficiently 
deep  engraved. 

2.  Or  else  take  verdigrease,  strong  vinegar,  ammoniac  and 
common  salts,  and  copperas,  equal  parts.  Set  all  together 
a boiling  for  a quarter  of  an  hour  ; then  strain  it  through  a 
rag,  and  run  some  of  that  water  on  your  plate.  In  about 
half  an  hour  afterwards  it  will  be  perfectly  engraved. 

S.  Callot’s  varnish,  of  which  the  composition  shall  be 
found  hereafter,  in  the  Chapter  on  Varnishes,  is  an  admirable 
composition  to  lay  on  the  plate  you  propose  to  engrave 


B 


6 


SECRETS  IN  ARTS,  TRADES,  &c. 


III.  To  engrave  with  aquafortis , so  that  the  work  may 
appear  like  a basso  relievo . 

Take  equal  parts  of  vermillion  and  black  lead,  two  or 
three  grains  of  mastich,  in  drops.  Grind  them  all  together, 
on  marble,  with  lintseed  oil  ; then  put  this  composit  on  into 
a shell.  Next  to  this  operation,  cut  some  soft  quills,  and 
let  your  steel  or  iron  be  well  polished.  Try  first  whether 
your  colour  runs  sufficiently  with  your  pens;  and  if  it 
should  not,  you  must  add  a little  more  oil  to  it,  so-  as  to 
have  your  pen  mark  freely  with  it,  as  if  you  were  writing 
with  ink  on  paper.  Then  rub  well  your  plate  of  steel  with 
wood  ashes,  to  clean  and  ungrease  it;  after  which  wipe  it 
with  a clean  rag,  and  draw  your  design  upon  it  with  your 
pen,  prepared  as  before,  and  dipped  into  your  liquor.  If 
you  want  to  draw  birds,  or  other  animals,  you  must  only 
draw  the  outlines  of  them  with  your  pen,  then  fill  up  the 
inside  of  those  lines  with  a hair  pencil  ; that  is  to  say,  you 
will  cover  all  the  space  contained  between  the  first  outlines 
drawn  with  the  pen,  with  the  same  colour,  which  you  will 
lay  with  a brush,  to  pr  eserve  all  that  part  against  the  mor- 
dacity of  the  aquafortis.  When  that  is  done,  let  your  work 
dry  for  a day  or  two  ; and  when  dried,  take  some  fire  made 
with  charcoal  into  a chafing  dish,  and  bake  over  it  your 
colour  by  degrees,  till  it  becomes  quite  brown.  Take  care 
notwithstanding  not  to  burn  it,  for  fear  you  should  scale  it 
when  you  come  to  scratch,  with  the  point  of  a needle,  those 
etchings,  or  places,  which  you  want  to  be  engraved  with 
the  following  aquafortis. 

IV.  Aquafortis  for  engraving . 

Take  verdigrease,  roch  alum,  Roman  vitriol,  and  common 
salt  of  each  three  ounces  ; pound  it  into  a very  fine  powder. 
Have  a new  pipkin,  put  a little  more  than  a quart  of  water, 
and  your  drugs,  ail  together.  Let  them  thus  infuse  a couple 
of  hours ; then  place  them  over  a charcoal  fire,  and  when 
the  water  has  a little  simmered,  take  the  pot  from  off  the 
fire  and  let  it  cool,  that  you  may  dip  your  hand  in  without 
scalding.  Then  have  an  earthern  cup,  with  which  you 
take  off  that  water,  and  pour  it  over  the  work  you  mean 
to  engrave ; so  that  it  may  run  freely  over  all  the  places 
which  are  to  be  marked,  and  then  off  into  a pan  placed  un- 
der to  receive  it.  Continue  thus  to  water  your  works  for 
three  quarters  of  an  hour.  Then  you  will  pour  upon  it 
clear  pump  water,  to  wash  off  the  mud  which  the  aquafor- 
tis shall  have  occasioned.  You  are  then  to  try  with  a nee- 


SECRETS  IN  ARTS,  TRADES  , Sic. 


r 


die  the  depth  of  the  lines  of  your  engraving  and,  if  not  at 
your  liking,  you  must  begin  again  watering  it  as  before. 
The  only  care  you  are  to  have  is,  that  your  liquor  should 
not  be  too  warm  ; for  then  it  would  spoil  the  work.  It  is 
better  to  use  it  lukewarm  only,  and  be  longer  at  it. 

V.  To  engrave  on  brass , or  copper,  with  aquafortis . 

You  must  put  in  your  colour  more  mastich  in  drops,  and 
bake  it  also  rather  more  over  the  fire  after  it  is  laid  on  your 
plate,  so  that  it  should  almost  turn  black.  And  if  it  be  a 
flat  work,  as  generally  are  all  those  on  copper  plates,  you 
must  raise  around  it  a border  of  wax  to  prevent  the  aqua- 
fortis, which  you  are  to  pour  on  it,  from  running  off,  and 
which  is  to  be  a separating  aquafortis,  with  which  you  cover 
the  plate  to  the  thickness  of  a crown  piece.  After  it  has 
been  thus  left  covered  with  that  aquafortis  for  a little  while* 
this  becomes  green  ; then  is  the  time  to  throw  it  away,  and 
to  pour  in  its  place  some  pump  water ; when  you  will  ex- 
amine whether  the  lines  be  sufficiently  deep  or  not.  If  not, 
pour  again  fresh  aquafortis  on  your  plate,  and  thus  you  ob- 
tain your  works  of  basso-relievo  by  contrary  ; that  is  to  say, 
raised  grounds.  You  may  thus  engrave  ail  sorts  of  works* 

VI.  To  engrave  prints  by  aquafortis . 

Take  some  ceruse  ; grind  it  well  with  clear  pump  water, 
and  size  it  with  isinglass.  Lay  this  composition  with  a 
coarse  brush,  or  pencil,  on  the  plate  which  you  want  to 
engrave.  When  it  is  dry,  draw  on  it  whatever  design  you 
please.  Or,  if  you  want  to  counterproolr  a copper-plate 
print,  blacken  all  the  back  of  your  print,  and  placing  that 
blackened  part  on  your  plate,  prepared  as  before,  go  over 
all  the  strokes  of  your  print,  with  a smooth  ivory  or  wood* 
en  point,  which  will  stamp  the  black  of  the  print,  in  ail 
those  places,  on  the  plate.  Then  you  will  go  again  over  all 
the  black  strokes  which  are  laid  on  your  plate,  with  a pen 
and  ink  ; and  taking  afterwards  a steel  point,  very  fine  and 
well  tempered,  you  will  etch  your  plate  with  it,  in  follow- 
ing all  the  strokes  marked  on  it,  and  pour  aquafortis,  as 
before  directed. 

VII.  The  method  of  engraving  with  aquajortis. 

1»  You  must  have  a very  well  polished  plate,  and  per- 
fectly clean.  Set  it  to  warm  over  a chafing  dish,  in  which 
there  is  a charcoal  fire.  While  on  it  cover  it  with  a varnish, 


8 


SECRETS  IN  ARTS,  TRADES,  &c. 


either  dry  or  liquid,  for  there  are  two  sorts.  Then  you 
blacken  that  varnish  with  the  flame  of  a candle,  over  which 
you  pass  and  repass  the  plate  on  the  varnished  side. 

2.  This  being  done,  you  have  no  more  to  do  than  to 
chalk  your  design  on  that  plate,  which  is  infinitely  more 
easy  than  to  engrave  with  the  graver.  For  if  you  rub  the 
back  part  of  your  drawing  with  some  sanguine  stone  (red 
chalk)  or  any  thing  else,  and  lay  it  afterwards  on  your  plate, 
to  trace  it  with  a point,  the  sanguine  which  is  on  the  back 
of  the  draught  will  easily  set  off  on  the  vanish.  So  that  you 
may  follow  afterwards  all  the  lines  of  the  design,  and  be 
infinitely  more  correct  in  all  the  turns,  and  the  expression 
of  the  figures.  This  is  the  reason  why  all  the  painters  who 
have  their  own  works  engraved,  take  the  trouble  of  drawing 
also  the  outlines  of  their  figures,  that  the  spirit  and  beauty 
of  the  design  may  be  preserved.  Indeed  it  must  be  con- 
fessed, that  we  always  discover  a great  deal  more  art  in 
^.hose  pieces  which  are  engraved  with  aquafortis,  than  there 
is  found  in  them  that  are  done  by  the  graver.  And,  even 
in  many  of  these,  the  aquafortis  is  often  employed  to  sketch 
lightly  the  contours , or  outlines  of  the  figures,  and  to  have 
them  more  correct. 

3.  True  it  is,  that  it  is  sometimes  found  necessary  to 
touch  a little  over  with  the  graver,  certain  parts  which  are 
not  strong  enough,  or  that  the  aquafortis  has  not  eaten  in 
sufficiently.  For  it  is  not  easy,  in  a great  plate,  to  get  all 
the  several  parts  so  proportionably,  and  a propo?,  eaten  in, 
as  there  should  be  nothing  to  find  fault  with. 

4.  It  is  not  enough  for  an  engraver  to  work  with  the 
point  of  his  needle,  or  scooper,  in  all  the  different  places  of 
his  work,  with  the  strength  and  delicacy  necessary  to  make 
appear,  as  he  wants  them  to  be,  the  most  remote  and  near- 
est parts  It  is  again  requisite  that  he  should  take  care, 
when  he  comes  to  put  the  aquafortis  on  his  plate,  it  should 
not  bite  equally  every  where.  This  is  prevented  as  follows, 
by  a mixture  of  oil  and  tallow,  which  you  will  drop  into  it 
from  a lighted  candle. 

5.  To  this  effect  he  must  have  a framed  wooden  board, 
overlaid  with  wax,  on  which  he  fixes  his  plate  a little  slant 
way,  then  pours  aquafortis  on  it,  so  that  it  may  only  pass 
oyer  it,  and  run  into  an  earthen  pan,  placed  under  to  receive 
it.  Therefore  he  takes  care  to  examine  when  those  parts, 
which  are  not  to  be  so  deeply  eaten  in,  have  received  a suf- 
ficient quantity  of  aquafortis  ; in  which  case,  taking  off  his 
plate,  he  washes  it  with  pump  water,  by  pouring  it  only 
over,  dries  it  gently  before  the  fire,  then  covers  the  most  re- 
mote parts,  and  them  which  he  wants  to  preserve  weakest, 
with  the  abovementioned  mixture  of  oil  and  tallow,  that 


SECRETS  IN  ARTS,  TRADES,  Sec. 


9 


the  aquafortis  should  not  act  any  more  on  those  places.— 
Thus,  covering  at  several  times,  and  as  much  as  he  pleases, 
such  places  of  his  plate  as  he  wants  to  keep  not  so  strong  as 
others,  it  results  that  the  figures  which  are  forwards  in  the 
picture,  are  constantly  every  time  washed  with  the  aqua° 
fortis  which  eats  in  them,  till  he  sees  they  are  sufficiently 
engraved,  and  according  to  the  degree  of  strength  which  he 
is  desirous  of  giving  them. 

6.  That  sort  of  aquafortis  we  have  mentioned  and  de- 
scribed in  this  chapter,  at  the  article  of  the  water  for  engra- 
ving on  iron , and  which  is  composed  with  verdigrease,  vin- 
egar, common  and  ammoniac  salts  and  copperas,  is  also 
made  use  of  to  engrave  on  copper,  in  pouring  it  on  the 
plates,  covered  either  with  hard  or  soft  varnish,  and  scratch* 
ed,  or  etched,  agreeably  to  the  design  you  intend  to  en- 
grave on  them. 

7.  As  for  what  concerns  the  refiner’s  aquafortis,  common 
ly  called  white  water , it  is  never  used  but  upon  the  soft 
varnish,  and  never  as  the  former,  which  is  called  green  wa- 
ter , by  pouring  it  only  over  the  plate,  and  letting  it  run  off 
into  a pan  under  it.  A border  of  wax  must  be  made  round 
the  plate,  on  which,  this  being  laid  flat  upon  a table,  some  of 
that  white  water  is  poured,  after  having  previously  tem- 
pered it  more  or  less  with  a proportionable  quantity  of 
common  water,  which  is  called  pickling . 

VIII.  To  engrave  on  wood. 

You  begin  by  preparing  a board,  according  to  the  size 
and  thickness  you  want  it,  and  finely  polished  on  the  side 
it  is  to  be  engraved.  The  sort  of  wood  which  is  generally 
chosen  for  such  a purpose,  is  either  pear  tree  or  box.  And 
of  the  two,  this  last  is  even  still  preferable,  both  on  account 
of  its  being  of  a superior  hardness,  and  also  less  liable  to  be 
worm  eaten.  On  that  board  you  draw  first  your  design, 
such  as  you  want  it  to  appear  in  printing.  They  who  have 
not  the  talent  of  drawing,  as  there  are  a great  number  who 
make  use  of  the  very  drawing  you  give  them,  which  they 
paste  on  their  board,  by  the  right  side,  with  a paste  made 
of  good  flour,  water,  and  a little  vinegar.  You  must  take 
care  that  all  the  strokes  of  the  drawing  should  touch  well, 
and  stick  on  the  wood  ; and  when  the  paper  is  very  dry, 
wet  it  gently,  and  with  the  tip  of  your  finger  rub  it  offby 
degrees,  so  that  the  strokes  only  of  the  drawing  should  re« 
main  on  your  board,  as  if  you  had  drawn  it  with  ink  and 
a pen.  These  strokes  or  lines  shew  all  that  you  are  to  spare 
or  preserve  \ all  the  rest  you  are  to  cut  off  and  sink  down 


10 


SECRETS  IN  ARTS,  TRADES,  &c. 


with  delicacy,  by  means  of  a sharp  and  well  tempered  pen- 
knife, small' chisel,  or  gouet , according  to  the  size  and  deli- 
cacy of  the  work,  for  you  have  no  need  of  any  other  took 

IX,  To  engrave  on  cop  fie  r with  the  graver, 

1.  When  the  plate,  which  is  to  be  of  red  copper,  is  well 
polished,  you  draw  your  design  on  it  with  either  the  black 
lead  stone  or  a steel  point.  When  that  is  done  you  have 
no  further  need  of  any  thing  but  a sharp  and  well  tempered 
graver  to  cut  in,  and  give  more  or  less  strength  to  certain 
parts,  according  to  the  subject,  and  the  fine  figures  you 
execute. 

2.  You  must  also  have  a certain  tool  of  six  inches  long, 
or  thereabouts,  one  of  the  ends  of  which,  called  a scraper, 
is  made  in  the  form  of  a triangle,  sharp  on  each  edge,  with 
which  you  scrape  on  the  copper  when  you  want  it.  The 
other  end,  called  a burnisher,  has  very  much  the  shape  of 
a fowl’s  heart,  a little  prolonged  by  the  point,  round  and 
slender.  This  serves  to  polish  the  copper,  to  mend  the 
faults,  and  soften  the  strokes. 

3.  In  order  to  form  a better  judgment  of  your  work,  you 
must  now  and  then  as  you  proceed  on,  make  use  of  a 
stump,  made  with  the  piece  of  an  old  hat  rolled  up  and 
blackened,  with  w hich  you  rub  your  plate,  on  the  place  you 
are  working,  which  fills  the  strokes  with  black,  and  makes 
you  see  better  the  effect  of  your  work  as  you  go.  You 
must  be  provided  likewise  with  a leather  cushion,  on  which 
you  lay  your  plate  while  you  engrave  it. 


■ 11 


CHAP.  II. 

Secrets  relative  to  Metals. 

I.  Transmutation  of  iron  into  the  finest  German  steeL 

1 . rT^fAKE  clean  soot  one  pound  ; oak  wood  ashes  twelve 
JL  ounces,  and  four  of  pounded  garlics.  Boil  all  toge- 
ther in  twelve  pounds  of  common  water,  reduced  to  four 
pounds.  Strain  this,  and  dip  in  it  the  iron  pegs,  which  you 
will  afterwards  stratify  with  the  following  cement. 

2.  Take  burnt  wood  coals,  otherwise  called  cokes,  and 
quick  lime,  of  each  three  pounds  \ soot  dried,  and  calcinated 
in  an  iron  pan,  one  pound  ; decripitate  salt,  four  ounces. 
Make  of  this  and  your  iron  several  beds  alternately,  one  over 
another  ; and  having  well  luted  the  vessel  in  which  you  shall 
have  made  those  beds  of  iron  and  cement,  give  them  a rever- 
berating fire,  for  three  times  twenty-four  hours,  and  the  ope- 
ration is  done. 

II.  To  refine  Pewter. 

Take  fine  Pewter,  melt  it  in  a crucible.  When  done,  pro- 
ject over  it  at  several  times  some  nitre  till  you  see  it  calcined. 
"Then  pound  it  into  powder,  and  mix  it  with  an  equal  quan- 
tity of  charcoal  pulverized  very  fine.  If  in  this  condition  you 
melt  it  again,  it  will  resume  its  form  of  pewter,  only  refined 
in  a much  superior  degree. 

III.  Method  cf  tempering  edge-tools  that  are  of  too  brit- 
tle a quality . 

Plunge  them  in  boiling  fat  for  two  hours  ; then  take  them 
out,  and  let  them  cool  gradually.  They  will  retain  their 
hardness  without  being  brittle. 

IV.  To  make  Pewter. 

Melt  together  1 cwt.  Tin,  1 5 lb  Lead,  and  6 lb.  Brass,  the 
whole  forms  what  is  called  pewter. 

V.  To  make  Pinchbeck. 

Melt  one  pound  of  zinc,  with  five  or  six  pounds  of  cop* 


12 


SECRETS  IN  ARTS,  TRADES.  &c. 


per  ; the  purer  these  metals,  the  more  malleable  the  pinch- 
beck. Its  colour  much  resembles  gold. 

VI.  On  Zinc , or  Sfielt  errand  its  various  uses. 

Zinc  combined  with  gold  in  equal  proportions  forms  a hard 
white  compound  metal,  that  admits  of  a fine  polish,  and  may 
be  advantageously  manufactured  into  specula  for  optical  in- 
struments. 

Zinc  and  Tin  melted  together,  form  a kind  of  pewter. 

Spelter  and  copper  readily  unite  in  the  fire,  provided  the 
combustion  of  the  former  be  carefully  prevented  during  the 
process.  In  this  state,  it  forms  a metal  distinguished  by  the 
name  of  yellow  copper ; but  which  is  divided  into  several 
sorts  according  to  the  respective  proportions  contained  in  the 
alloy.  Thus  three  parts  of  copper  and  one  of  zinc,  consti- 
tute brass  ; five  or  six  of  copper  and  one  of  zinc,  form  pinch- 
beck : Tembac  is  composed  of  a still  larger  proportion  of 
copper  than  pinchbeck,  is  of  a deeper  red,  and  bears  the 
name  of  its  inventor.  Princes  metal  requires  a still  larger 
proportion  of  zinc  than  either  of  the  preceding  compositions. 

VII.  To  make  blue  letters  onfiolished  sword  blades . 

Take  a well  polished  sword  blade,  and  hold  it  over  a char- 
coal fire  till  it  is  blue,  then  with  oil  colour  write  such  letters, 
(or  make  such  figures)  as  you  wish  should  appear,  and  re- 
main, and  let  them  dry ; then  warm  some  strong  vinegar, 
and  pour  all  over  the  blade,  which  will  infalliably  take  off 
the  blue  colour.  After  this  process,  a little  common  warm 
water  will  take  off  the  oil  colour,  and  the  letters  or  figures 
will  appear  and  remain  of  a curious  aud  indeliabie  blue,  the 
same  may  be  done  on  any  polished  steel. 

VIII.  Method  of  giving  a lustre  to  Silver. 

Dissolve  a quantity  of  alum  in  water,  so  as  to  make  a pret- 
ty strong  brine,  which  you  must  scum  very  carefully  * add 
some  soap  to  it,  and  when  you  want  to  use  it,  dip  a piece  of 
linen  rag  in  it,  and  daub  it  over  your  pieces  of  plate.  This 
process  will  add  much  to  their  lustre. 

IX.  To  extract  Mercury  from  Lead. 

Take  lead  filings  one  pound  ; ammoniac  salt  four  ounces ; 
bricks  pounded  into  a powder,  three  pounds.  Distil  this 
composition  in  a retort,  on  a gradual  fire.  The  receiver 


SECRETS  IN  ARTS,  TRADES,  &c. 


13 


must  be  very  large,  half  full  of  water,  and  the  fire  must  be 
continued  for  twelve  hours,  pushing  it  by  degrees,  to  the 
very  last. 

X.  To  preserve  the  brightness  of  arms. 

Rub  them  with  hart’s  marrow.  Or  else,  dissolve  some 
alum  powder  with  the  strongest  vinegar  you  can  find,  (that 
of  Montpellier , which  serves  to  make  their  famous  verdi- 
grease,  is  the  fittest)  and  rub  your  arms  with  it.  By  these 
means,  they  keep  for  ever  bright  and  shining. 

XI.  To  operate  the  transmutation  of  iron  into  steel . 

Take  beech  and  willow,  burn  them  together.  When  is 
coals,  extinguish  them,  before  they  are  consumed,  with 
water,  or  rather,  with  chamber-lye.  Pound  them  well,  and 
lift  them  through  a very  fine  sieve.  Then  burn  likewise  ox 
horns,  and  prepare  them  the  same  way.  Sift  well  also  soot, 
vine  ashes,  burnt  shoe  ashes,  and  pomegranate  shell  pow- 
der, putting  aside  and  separately  each  drug  by  itself,  and 
mix  them,  afterwards,  when  used,  in  the  following  propor- 
tions. Coals  twelve  pounds  ; horns  ten  : shoes,  vine  soot, 
and  pomegranate,  of  each  equal  quantities  three  pounds,  all 
well  mixed  together.  To  make  one  hundred  pounds  weight 
of  steel,  there  is  required  one  hundred  and  twenty  pounds 
weight  of  good,  soft  Spanish  iron,  not  streaky  ; to  which 
if  you  give  the  aforementioned  dose  of  the  said  powders, 
prepared  as  directed,  and  put  to  the  fire,  for  the  space  of 
forty-eight  hours,  you  will  get  the  best  steel  which  can  be 
had. 

XII.  Another  receipt  for  the  Same . 

1 . Take  one  bushel  of  beech  coals  pulverised  and  sift- 
ed ; alder’s  coal  , thus  prepared,  one  peck;  vine  ashes  and 
soot,  both  well  pluverised  and  sifted,  equal  parts,  half  a 
peck.  Mix  well  these  powders,  and  stratify  your  iron  bars 
with  them  in  a crucible  well  luted;  then  give  a good  fire  for 
twenty -four  hours. 

N.  B.  Observe  that  you  must  take  care  to  use  new,  and 
not  floted  wood,  to  make  the  said  ashes. 

2.  If  you  want  to  have  your  steel  white,  you  must  add  to 
all  the  above  powders  one  peck  of  juniper  wood  ashes. 

S.  If  you  want  it  purple,  you  must  make  a lexi  iation  of 
vine  and  shoe  ashes,  soot  and  garlic,  well  pounded,  equal 
parts ; and  a sufficient  quantity  of  water  to  make  the  said 


14 


SECRETS  IN  ARTS,  TRADES,  &c> 


bullitorium,  in  which  you  will  steep,  cold,  your  iron  bars  be- 
fore you  cement  them. 

4 You  must  proportionate  the  quantity  of  windholes,  in 
each  kiln,  to  the  quantity  of  bars,  and  of  crucibles,  for  which 
you  intend  to  fit  it. 

5.  The  stratum  super  stratum  ought  to  be  made  an  inch, 
or  an  inch  and  a half  inch  thick  of  powder  to  each  bed.  The 
bars  ought  to  be  ranged  cross  way  one  over  another ; and 
large  crucibles  are  to  be  preferred  to  small  ones  You  must 
take  care  to  have  them  so  well  luted,  as  not  to  allow  the  least 
air  to  find  its  way  in  ; for  there  would  result  an  intire  mis- 
carriage of  the  whole  operation  ; and  besides,  your  powder 
would  hence  lose  all  its  virtue.— Should  you  likewise  let  it 
get  air  before  you  make  use  of  it,  it  would  become  quite 
dead  and  flat.  Therefore,  you  are  cautioned  to  keep  it  al- 
ways very  closely  confined,  in  well  stopped  vessels,  of  what- 
ever kind  they  may  be.  That  which  comes  oft’  from  the  cru- 
cible, after  the  operation,  is  not  worse  for  having  been  thus 
in  use.  It  wants  therefore,  nothing  but  an  additional  supply 
of  fresh  powder  joined  to  it,  to  make  up  what  is  lost  or  dir 
minished,  by  the  frequent  handling  of  it,  in  taking  it  out,  and 
putting  it  in  the  crucibles  again. 

6.  The  kiln  ought  to  be  wide  by  the  inferior  part,  and  go 
narrowly  towards  the  top,  which  must  end  in  a conical  form. 
By  such  means  the  heat  contracted  becomes  strong,  and  acts 
with  infinitely  more  power.  Neither  must  you  neglect  to 
have  it  so  constructed  as  to  be  provided  with  an  ash-hole, 
or  a place  underneath  wherein  the  ashes  may  fall,  and  seve- 
ral openings  to  let  the  wind  escape. 

XIII.  To  give  iron  a temper  to  cut  porphyry. 

Make  your  iron  red  hot,  and  plunge  it  in  distilled  water 
from  nettles,  acanthus,  and  pilosella>  (or  mouse-ears)  or  in 
the  very  juice  pounded  out  of  these  plants. 

XIV.  To  soften  all  sorts  of  metals . 

Take  sublimated  mercury,  enphorbium,  borax,  and  am- 
moniac salt,  of  each  equal  parts  pulverised.  Project  some 
of  that  powder  over  any  metal,  when  in  a state  of  fusion, 
and  you  will  obtain  the  desired  effect  of  making  it  soft. 

XV.  A very  hard  temper  for  arms . 

Take  nettle  juice,  bullock’s  gall,  child’s  water,  or  strong 
vinegar,  and  a little  salt.  Incorporate  well  all  this  together* 
and  plunge  any  red-hot  iron  in  it. 


SECRETS  IN  ARTS,  TRADES,  fcc.  15' 

XVI.  Ingredients  which  serve  to  the  melting  of  iron . 

Iron  is  to  be  melted  with  any  of  the  following  ingredients  ; 
%n%.  pewter,  lead,  marcasite,  magnesia,  auripigment,  antimo- 
ny, crown  glass,  sulphur,  ammoniac  salt,  citrine  miribolans, 
green,  or  fresh  pomegranate  rinds.  Sc c.  Sc c* 

XVII.  Another  method  to  refine  pewter . 

Take  fine  pewter,  and  put  it  into  a crucible.  When  mel- 
ted project  over  it,  at  different  times,  some  nitre,  till  it  comes 
to  a perfect  calcination.  Repeat  this  three  times,  pounding 
the  matter  into  powder,  which  mix  with  charcoal  dust  Be- 
ing thus  melted,  it  will  resume  its  former  substance  of  pew- 
ter, with  this  difference,  that  it  will  be  refined  to  an  infinite- 
ly superior  degree. 

XVIII.  To  fix  Mercury . 

Take  verdigrease  in  powder,  which  put  in  a crucible* 
Make  a hole  in  that  powder,  and  place  in  it  a knot  of  mer- 
cury previously  impregnated  with  white  of  eggs  water.  Co- 
ver this  knot  over  with  borax,  and  add  again  over  this  some 
more  verdigrease  and  pounded  glass,  one  or  two  finger’s 
deep.  Lute  well  the  lid  of  the  crucible,  and  give  a pretty 
smart  fire,  though  gradually  and  not  at  once,  for  the  space 
off  wo  hours. 

XIX.  To  extract  mercury  from  lead . 

Take  lead  and  beat  it  into  sheets,  or  laminas,  very  finea 
Put  these  in  a glass  vessel  with  common  salts,  a double  quan- 
tity of  the  lead.  Cover  this  well,  and  bury  it  under  ground 
for  nine  days  at  least.  After  that  time,  if  you  open  the  ves- 
sel again,  you  will  find  your  lead  turned  all  into  running 
mercury,  or  quicksilver  at  the  bottom  of  it. 

XX.  The  composition  of  metaiic  mirrors 5 or  looking  glas- 
ses^ used  among  the  ancients . 

1.  Take  one  pound  of  decapitated,  or  well  purified  cop- 
per, which  melt,  then  throw  over  it  three  pounds  of  refined 
pewter.  As  soon  as  they  shall  be  both  in  good  fusion,  add 
six  ounces  of  calcinated  red  tartar,  two  of  arsenic,  half  an 
ounce  of  saltpetre,  and  two  drachms  of  alum.  Leave  all 
this  in  fusion  together  for  the  space  of  three  or  four  hours, 


16 


SECRETS  W ARTS,  TRADES,  kc. 


that  all  the  salts  may  well  evaporate,  then  cast  this  composi- 
tion in  the  flat  sand  mould,  prepared  for  it. 

2.  l'o  give  these  mirrors  the  requisite  polish,  proceed  as 
follows.  Take  the  coarsest  part  away  with  the  wheel  over 
a grinding  stone,  the  same  method  as  the  pewterers  and  bra- 
ziers do,  and  then  smooth  them  with  water  till  they  are  suf- 
ficiently polished  by  attrition.  Take  the  mirror  from  that 
wheel,  and  put  it  on  the  wooden  one  covered  with  leather, 
after  having  rubbed  it  well  with  emery,  to  give  it  a fine  po- 
lish, then  take  it  again  from  this  wheel,  and  put  it  on  ano- 
ther of  the  same  kind,  covered  with  leather,  after  having  pre- 
viously rubbed  your  mirror  with  prepared  blood  stone,  and 
washing  it  afterwards  with  magister  of  pewter.  Take  no- 
tice to  make  your  mirrors  observe,  on  both  the  last  leather- 
ed wheels,  the  same  oblique  direction  in  turning  them,  and 
continue  so  long  till  the  mirror  has  acquired  a sufficient  fine- 
ness and  brightness. 

Convex  and  ardent  mirrors  are  rubbed  and  polished  in  the 
same  manner. 

XXI.  To  give  tools  such  a temper  as  will  enable  them  to 

saw  marble . 

Make  the  tool  red  hot  in  the  fire,  and  when  red  cherry  co- 
lour, take  it  off  from  the  fire,  rub  it  with  a piece  of  candle, 
and  steep  it  immediately  in  good  strong  vinegar,  in  which 
you  shall  have  diluted  some  soot. 

XXII.  To  soften  iron , and  harden  it  afterwards  more 

than  it.  was  before . 

I.  Make  a little  chink  lengthways  in  an  iron  bar,  in  which 
pour  melted  lead.  Then  make  it  evaporate  by  a strong 
fire,  as  that  for  copelling.  Renew  this  operation  four  or  five 
times,  and  the  bar  will  become  very  soft.  You  harden  it  af- 
terwards in  steeping  it,  when  red  hot,  in  mere  forge  water, 
and  it  will  be  of  so  good  a temper,  as  to  be  fit  for  lancets, 
razors  and  knives,  with  which  you  will  be  able  to  cut  other 
iron,  without  its  splitting  or  denting 

2 It  has  been  found  by  experience,  that  an  armour  can 
never  be  good  proof  against  fire  arms,  if  it  has  not  first  been 
softened  with  oils,  gums,  wax  and  other  incerative  things, 
and  afterwards  hardened  by  steeping  them  several  times  over 
in  binding  waters* 


SECRETS  IN  ARTS,  TRADES,  &c.  1? 

XXIII.  The  transmutation  of  iron  into  damask  steel . • 

You  must  first  purge  it  oP  its  usual  brittleness  ; and  after 
having  reduced  it  into  filings,  make  it  red  hot  in  a crucible  ; 
steep  it  several  times  in  oil  of  olives,  in  which  you  shall  have 
before  thrown  several  times  melted  lead.  Take  care  to  cover 
the  vessel  in  which  the  oil  is  contained,  every  time  you  throw 
your  steel  into  it,  for  tear  the  oil  should  catch  fire. 

XXIV.  To  guard  iron  against  rusting . 

Warm  your  iron  till  you  can  no  more  touch  it  without  bur- 
ning yourself.  Then  rub  it  with  new  and  clean  white  wax. 
Put  it  again  to  the  fire,  till  it  has  soaked  in  the  wax.  When 
done,  rub  it  over  with  a piece  of  serge,  and  this  iron  will  never 
rust. 

XXV.  To  cut  fie bbles  with  ease. 

Boil  it  a good  while  in  some  mutton  suet,  and  then  you  will 
cut  it  very  easily. 

XXVI.  A projection  on  copper . 

1.  Take  fine  pewter  two  ounces,  which  you  will  melt  in 
a crucible.  When  melted,  throw  in  it  by  little  at  a time 
the  same  weight  of  flour  of  brimstone.  Stir  every  time  with 
a rod,  till  you  see  both  your  pewter  and  sulphur  well  calcin- 
ated. Then  take  the  crucible  out  of  the  fire,  and  throw  in 
half  an  ounce  of  crude  mercury.  Let  it  cool,  and  pulverise 
this. 

2.  Now  melt  four  ounces  of  molton  copper.  When  iu 
good  fusion,  project  on  it,  by  degrees,  one  ounce  of  the  above 
powder,  stirring  carefully,  while  you  do  it,  with  a stick. 
Leave  it  thus  in  fusion  for  a little  while,  and  then  you  may 
use  it  for  making  all  sorts  of  plates.  It  is  so  beautiful,  that5 
if  you  test  it  on  the  coppel  with  lead,  it  will  stand  it  perfectly. 

XXVII.  The  preparations  of  emery . 

1.  Calcine  eastern,  or  Spanish  emery,  three  or  four  times 
in  the  fire  ; then  let  it  cook  Pound  it  and  make  strata  sup - 
er  strata  of  it,  with  double  the  quantity  of  sulphur*  ivum 
in  powder.  Leave  this  crucible  in  the  furnace  with  a strong 
fire  during  three  or  four  hours.  Repeat  this  process  four 
different  times  over,  then  reduce  your  emery  into  an  impal- 
pable powder,  put  it  next  into  a matrass,  pour  over  it  re- 

C 


18 


SECRETS  IN  ARTS,  TRADES,  &c. 


gal  water,  that  it  swim  over  by  three  fingers  deep.  P-ut  this 
zn  digestion  tor  eight  hours.  Pour  off  by  inclination  your  re- 
gal water,  impregnated  with  the  dye  Put  new  water  on  your 
matter,  and  set  it  on  digesting  again  for  eight  other  hours,  as 
the  former.  Then  take  your  thus  tinged  waters,  which  you 
will  mix  and  put  in  a retort.  Distil  most  part  of  it,  till  you 
see  what  remains  in  the  retort  is  yellow.  This  is  the  true  oil 
of  emery,  in  which  you  put  the  bigness  of  a filbert  qf  cam- 
phire. 

Exsulphurate  in  a crucible,  on  a good  fire,  and  during 
two  hours,  what  quantity  you  please  of  arsenic.  Then  take 
two  ounces  of  the  aforesaid  oil  of  emery,  one  of  your  exsul- 
phurated  arsenic,  an  equal  quantity  of  salt  of  tariar  drawn 
with  distilled  vinegar,  two  of  sublimate,  and  two  of  silver ; 
which  you  will  have  dissolved  in  an  aquafortis  made  with  nitre 
and  vitriol.  Put  all  together  in  a matrass,  so  large  that  the  com- 
position should  occupy  no  more  than  a third  part  of  it,  of  which 
you  shall  have  cut  the  neck  off,  to  obtain  a more  easy  evapor- 
ation of  the  compounds  from  it.  Put  this  matrass  in  the  sand 
as  hi  h as  the  matter,  and  give  it  a moderate  fire  for  two  bourn, 
then  a strong  one  for  six;  let  the  fire  go  out  of  itself  Then  you 
will  find  your  matter  in  a stone  in  the  matrass.  Take  it  out,  and 
pound  it  into  powder,  projected  upon  another  ounce  of  salt  in 
fut ion  ; if  you  keep  it  a little  while  in  that  slate,  and  throw  it  af- 
terwards into  oil  of  olives,  will  increase  your  gold  by  a third  of 
its  primary  quality,  and  rather  more  : And  you  may  thus  in- 
crease it  again  and  again,  by  repeating  the  same  operation. 

XXVIII.  To  dye  in  gold  silver  medals , or  laminae , th  rough 
and  through . 

1.  This  curious  operation  is  performed  by  means  of  the  ad- 
mirable salt  of  Glauber,  which  is  made  with  nitre  and  vitriol 
oil,  in  the  following  manner: - Take  what  quantity  you  please 
of  nitre  salt,  pour  over  it  a sufficient  quantity  of  oil  of  vitriol, 
to  swim  over.  When  the  ebullitions  arising  from  that  mixture 
shall  be  ended,  distil  to  dryness;  there  remains  a white  salt, 
known  under  the  name  of  salt  of  Glauber. 

2.  Dissolve  in  what  quantity  of  warm  water  you  think  pro- 
per, or  be  in  need  of,  a sufficient  quantity  of  that  salt  as  may 
saturate  it,  which  you  know,  when  you  see  the  water  can  dis- 
solve no  more  of  it.  In  this  dissolution  put  a dram  of  calx,  or, 
m agister  of  gold.  Then  put  in  digestion  in  it  silver  laminas 
cut  small  and  thin,  for  twenty-four  hours,  over  a very  gentle 
fire.  At  the  end  of  that  term  you  will  find  them  thoroughly 
dyed  gold  colour,  inside  and  outside, 


SECRETS  IN  ARTS,  TRADES,  &c.  19 

XXIX.  To  solder  iron , or  any  other  metal , without  fire. 

1.  Take  one  ounce  of  ammoniac,  and  one  of  common  salts  ; 
an  equal  quantity  of  calcined  tartar,  and  as  much  of  bell-metal, 
with  three  ounces  of  antimony.  Pound  all  together  and  sift  it. 
Put  this  into  a piece  of  linen,  and  inclose  it  well  all  round  with 
fuller’s  earth,  about  one  inch  thick.  Let  it  dry,  then  put  it 
between  two  crucibles,  over  a slow  fire,  to  get  heat  by  degrees. 
Push  on  the  fire  till  the  lump  contained  in  the  crucibles  becomes 
quite  red  hot,  and  melt  all  together.  Then  let  the  vessels,  and 
the  whole,  cool  gradually,  and  pound  it  into  powder. 

2.  When  you  want  to  solder  any  thing,  put  the  two  pieces 
you  want  to  join  on  a table,  approaching  their  extremities  as 
near  as  you  can  one  to  another.  Make  a crust  of  fuller’s  earth 
so,  that  holding  to  each  piece,  and  passing  under  the  joint,  it 
should  be  open  over  it  on  the  top.  Then  throw  some  of  your 
powder  between  and  over  the  joint.  Have  again  some  borax, 
which  put  into  hot  wine  till  this  is  consumed,  and  with  a fea- 
ther rub  your  powder  at  the  place  of  the  joint ; you  will  see  it 
immediately  boiling.  As  soon  as  the  boiling  stops,  the  conso- 
lidation is  made.  If  there  be  any  roughness,  you  must  smooth- 
en  it,  by  rubbing  with  a grinding  stone,  for  the  file  will  have  no 
power  over  it. 

XXX.  To  solder  with  fire. 

Make  a paste  with  pulverised  chalk  and  gum  water,  which 
put  around  the  two  broken  pieces  placed  on  a table,  and  pre- 
pared as  before-mentioned  in  the  preceding  receipt.  The  on- 
ly difference  is,  that  you  are  to  rub  over  the  two  united  extre- 
mities with  melted  soap  ; and,  after  having  thrown  some  of  the 
above  powder  at  the  place  of  the  joint,  hold  a kindled  piece  of 
charcoal  over  it.  This  will  immediately  set  the  matter  in  fu- 
sion, which  is  no  sooner  done,  but  you  may  take  off  the  paste, 
and  you  will  find  it  consolidated. 

XXXI.  To  make  borax. 

Take  two  ounces  of  roch-alum,  dilute  it,  and  mix  it  with 
two  ounces  of  alkaline  salt,  which  is  used  in  making  of  glass. 
Put  all  into  a pewter  pot,  and  set  it  a-doing,  for  the  space  of 
half  an  hour,  over  a gentle  fire  ; then  take  it  out  of  the  water. 
Take  nexttwo  ounces  of  gem  salt  in  powder,  as  much  of  alka- 
line salt,  two  pounds  of  virgin  honey,  and  one  of  cow  milk. 
Mix  well  all  together,  and  set  it  in  the  sun  for  three  days.  Then 
the  borax  is  done. 


28  SECRETS  IN  ARTS,  TRADES,  &c. 

XXXII.  To  render  iron  as  white  and  beautiful  as  silver. 

Take  ammoniac  salt  in  powder,  and  mix  it  with  an  equal 
quantity  of  quick  lime.  Put  them  all  together  into  cold  water, 
and  mix  well.  When  done,  any  iron  piece,  which  you  shall 
have  made  red  hot,  will,  if  you  steep  it  in  that  prepared  water, 
become  as  white  as  silver. 

XXXIII.  To  calcine  fuwier,  and  render  it  as  white  and  as 
hard  as  silver . 

Melt  well  your  pewter  in  a crucible,  so  that  it  may  be  very 
line  and  clear.  Pour  it  afterwards  into  a very  strong  vinegar, 
then  into  mercurial  water.  Repeat  that  operation  as  ma- 
ny times  as  you  please,  you  will  each  time  give  it  an  additional 
degree  of  hardness  and  whiteness,  drawing  near  to  silver;  so 
much,  that  it  will  at  last  be  very  difficult  to  distinguish  it  from 
silver  itself. 

XXXIV.  To  whiten  brass. 

Brass,  copper,  iron  or  steel,  may  also  be  easily  whitened  by 
means  of  the  butter  from  Cornwall  tin,  or  pewter,  prepared 
with  sublimate,  proceeding  as  follows. 

Take  Cornwall  pewter,  about  one  pound  ; add  to  it  half  that 
quantity  of  sublimate.  Set  it  on  a strong  fire,  and  sublime. 
Throw  away  the  first  water.  The  second  is  good,  which  you 
know  by  its  white  colour.  Now,  if  you  make  a piece  of  cop- 
per, brass,  steel,  or  iron,  it  does  not  signify  which,  red  hot,  and 
steep  it  in  that  water,  it  will  become  as  white  as  silver. 

XXXV.  To  extract  gold  from  silver. 

1.  Melt  whatever  quantity  you  please  of  lead,  in  a crucible, 
ever  a fire  of  clear  and  bright  live-coals.  Have  at  the  same  time 
In  fusion  an  equal  quantity  of  sulphur.  Then  take  your  first 
crucible,  in  which  the  lead  is  melted,  off  from  the  fire ; and, 
before  the  lead  shall  congeal,  throw  in  the  same  quantity  in 
weight  of  quicksilver.  Stir  and  mix  well  this  with  a stick. 
When  this  is  done,  pour  your  sulphur,  from  the  other  crucible, 
over  the  mixture  of  lead  and  quicksilver  you  have  just  made, 
and  which  coagulates,  continually  stirring  carefully  the  matter 
with  a spatula,  for  fear  the  sulphur  should  blaze  and  be  con- 
sumed, before  it  is  all  poured  in.  When  the  whole  is  come 
quite  cold,  grind  it  on  a tparble  table  with  a mullar.  Then 
put  a l again  into  a crucible  over  the  fire,  and  leave  it  in  fusion 
till  all  the  sulphur  is  Wnt  out,  and  the  matter  be  fluid  enough 


SECRETS  IN  ARTS,  TRADES,  kc, 


ter  be  cast  in  an  ingot.  This  will  look  like  the  regulus  of  melt- 
’ed  antimony.  It  will  have  even  its  brittleness. 

2.  Reduce  this  composition  into  powder,  and,  with  an  equal 
quantity  in  weight  of  it  and  of  silver  laminas,  make  strata  super 
strata  of  them,  alternately,  in  a crucible,  beginning  and  ending 
always  with  the  powder.  Then  over  the  last  bed,  put  about 
half  an  inch  thick  of  Venetian  glass,  or  crystal,  reduced  into  an 
impalpable  powder.  Observe  however  that  the  crucible  should 
not  be  filled  so  near  the  brim  as  to  let  the  glass  boil  over.  Make 
a fire  strong  enough  to  melt  both  the  matters  and  the  glass, 
and  set  them  thus  in  fusion  all  together  for  an  hour  at  least* 
Then  take  off,  and  let  cool,  your  regulus  ; in  breaking  your 
crucible,  make  a coppel,  or  test,  in  which  you  will  put  lead  in 
fusion,  till  it  is  as  fluid  as  it  can  be.  Throw  in  your  regulus 
to  purify  it  by  that  test,  in  the  same  manner  as  silver-smiths  do* 
When  your  silver  shall  be  fallen  to  the  bottom  very  pure,  put 
in  laminas,  or  granulate  it;  then  put  it  to  dissolve  in  aquafor-: 
tis.  You  will  see  some  small  particles  of  fine  gold  precipitating 
from  it,  in  the  form  of  black  powder.  Wash  these  in  warm 
water,  then  put  them  in  fusion,  in  a crucible,  and  you  will  have 
true  pieces  of  good  gold,  fit  for  any  of  the  chymical  physics*, 
and  capable  to  stand  any  test. 


Secrets  for  the  Composition  of  Varnishes,  &c. 


AKE  karahe , or  amber,  eight  ounces,  and  two  of  gum-Iae 


Melt  first  the  karabe,  in  a varnished  earthen  pot,  or  in  the 
retort  of  an  alembic,  over  a very  strong  fire.  When  this  is  melt-, 
ed,  throw  in  the  gum-lae,  and  let  this  melt  in  the  same  man- 
ner. Then  take  some  of  the  fire  off,  and  let  it  cool ; observing 
with  a stick,  whether  the  matter  has  got  all  its  fluidity.  Mix 
in  it  six  or  eight  ounces  of  turpentine  oil.  Keep  stirring,  in 
order  to  incorporate  well  this  oil  with  the  rest.  Add  also  a 
spoonful  of  lintseed  oil,  prepared  with  hepatica- aloes,  which,  in 
order  to  reduce  to  the  thickness  of  a syrup,  mix  with  a sstfife* 
dent  quantity  of  oil  of  turpentine,  tinged  with  romu 


CHAP  III. 


I.  A gold  varnish . 


€ 2 


M SECRETS  IN  ARTS,  TRADES,  &c. 

II.  How  to  prepare  the  lintseed  oil  with  the  hepatica-aloes 7 

for  the  above  purpose. 

Prepare  the  lintseed  oil  with  hepatica-aloes,  by  mixing  four 
ounces  of  this  in  powder,  with  one  pound  of  the  said  oil,  over 
the  fire,  till  it  has  acquired  the  consistence  of  a very  thick  sy- 
rup, and  you  see  your  oil  beginning  to  scum,  and  to  swell  much. 
Then  pass  it  through  a piece  of  linen,  let  it  cool,  and  bottle  it 
to  keep  for  the  abovementioned  use. 

III.  To  draw  the  tincture  of  rocou,  used  in  the  composition 

of  the  above  varnish , 

In  order  to  draw  the  tincture  of  rocou,  put  four  ounces  of  it 
in  oil  of  turpentine.  Set  this  over  a gentle  fire,  in  the  retort  of 
an  alembic,  and,  as  soon  as  the  oil  begins  to  boil,  take  it  from 
the  fire,  stir  well  with  a stick,  and  filter  it  through  a paper,  to 
use  it  as  directed  before. 

IV.  A varnish  for  icing. 

Concoct  some  turpentine  with  water  and  white  wine,  or 
brandy.  When  concocted,  dissolve  it  in  wine  and  oil  of  tur- 
pentine. 

V.  An  excellent  varnish. 

Take  what  quantity  you  please  of  verdigrease,  grind  it  with 
vinegar,  put  in  a piece  of  dough,  as  you  would  an  apple  to 
make  a dumpling.  Bake  it  in  an  oven  as  bread;  then  cut 
©pen  your  dumpling,  and  get  the  verdigrease  out  of  it.  Mix 
it  with  wine,  and  use  it.  Lay  over  it  a coat  of  four  ounces  of 
gum  arabic,  then  polish  as  usual.  You  will  find  it  will  answer 
your  expectation,  and  be  a very  fine  varnish. 

VI.  For  colouring  and  preserving  gates , poles , barnsy  &*c. 

Melt  twelve  ounces  of  rosin  into  an  iron  pot  or  kettle : add 
three  gallons  of  train  oil,  and  three  or  four  rolls  of  brimstone. 
When  the  rosin  and  brimstone  are  melted  and  become  thin, 
add  as  much  Spanish  brown,  or  red  or  yellow  oker  (or  any 
other  colour  you  want,  ground  fine,  as  usual  with  oil,)  as  will 
give  the  whole  as  deep  a shade  as  you  like.  Then  lay  it  on  a 
brush  as  hot  and  as  thin  as  you  can.  Some  days  after  the  first 
coat  is  dried,  give  it  a second.  It  is  well  attested  that  this 
will  preserve  plank  for  ages. 


SECRETS  IN  ARTS,  TRADES,  Sec, 
VII.  A red  varnish . 


20 


1,  Take  three  ounces  of  gum  lac,  half  an  ounce  of  sandarak, 
as  much  of  mastich  in  drop,  and  a pint  of  French  spirit  of 
wine.  Put  all  in  a matrass,  which  you  must  take  care  to  lute 
well  with  potter’s  clay,  and  stop  with  paper.  Have  a large 
iron  kettle,  two  parts  of  which  shall  be  filled  with  sand.  Place 
the  kettle  over  the  coals,  and  lay  the  matrass  on  the  sand.— 
Get  the  composition  to  boil  in  that  situation  for  three  hours. 
Strain  it  through  a sheercloth,  bottle  and  stop  it  well,  and  keep 
it  for  use. 

2.  To  make  this  varnish  red,  you  put  one  ounce  of  vermilion 
to  six  of  the  said  varnish.  But  to  dilute  the  vermilion,  you 
must  begin  by  pouring,  first,  some  oil  of  aspic  over  it,  and 
then  the  six  ounces  of  varnish,  which  will  take  near  a quarter 
of  an  hour  to  mix  well  together. 

8.  Observe  that  the  wood  on  which  you  want  to  lay  it,  has 
been  first  well  polished.  Rub  it  again  besides  with  a pounce 
stone  and  vinegar,  that  all  the  pores  may  be  well  filled,  and 
should  appear  no  more.  Then  lay  with  a brush,  first  a coat 
of  simple  varnish,  without  vermilion.  Let  this  dry  ; put  on 
next  your  second  coat,  of  that  which  is  prepared  with  the  ver- 
milion ; then  a third  and  a fourth,  according  a$  you  want  it 
®f  a more  or  less  deep  red. 

VIII.  A.  black  varnish. 

1.  Take  gum-lac,  four  ounces;  sandarak  and  black  rosin, 
equal  quantities,  one  ounce  of  each.  Pulverise  ail  separately, 
and  keep  them  distinct,  to  proceed  afterwards  in  their  mix- 
ture according  to  the  following  directions  Dissolve  the  rosin 
over  the  fire  in  a sufficient  quantity  of  spirit  of  wine,  then  add 
the  sandarak  to  it.  As  soon  as  this  is  also  dissolved,  add  the 
powder  of  gum-lac,  and  stir  well  till  all  is  melted  together.—* 
Strain  it,  while  warm,  through  a cloth.  If  any  thing  remain  in 
the  Jipen  afterwards,  add  some  more  spirit  of  wine,  to  dis- 
solve it  as  before,  and  strain  it  again. 

2.  The  black  colour  is  given  to  it  by  means  of  two  drachms 
only  of  ivory  black  to  every  two  ounces . 

IX.  To  make  ivory  black  for  the  above  purpose. 

Burn  any  quanlity  of  ivory  you  please,  in  the  fire,  till  it  is 
blac^.  put  it  into  powder  on  a stone  of  porphyry.  Add 
some  water  to  it,  and  make  a paste,  which  you  let  dry.  Then 
grind  it  again,  as  before,  with  spirit  of  wine. 


24  SECRETS  IN  ARTS,  TRADES,  &c. 

X.  A varnish  for  floors. 

Put  a little  petroly  or  rock  oil  with  varnish  and  turpentine, 
and  stir  well.  Lay  it  on  your  floors  with  an  old  hair  broom, 
after  having  mixed  in  it  the  colour  you  want  them  to  be. 

XI.  A varnish  from  Flanders . 

Take  asthereal  oil  of  turpentine,  and  Venice  turpentine, 
equal  parts.  Mix  them  over  a moderate  fire,  and  use  this 
boiling. 

XII.  A varnish  to  lay  on  canvas  sashes . 

Take  fine  and  clear  turpentine,  four  ounces  ; oil  of  nuts,  two. 
Melt  all  together  over  a fire,  and  when  it  begins  to  boil,  scum 
it,  and  use  it  hot  with  a brush. 

XIII.  A varnish  of  shell  lac  for  pictures. 

1.  Take  spirit  of  wine,  one  pound  ; pickled  shell  lack,  five 
ounces ; sandarak,  two  and  a half ; white  karabe  and  mastich, 
equal  parts,  two  drachms  of  each. 

2.  First  boil  and  skim  the  shell-lac  and  sandarak  together,  to 
have  them  the  whiter.  Then  add  the  mastich  and  karabe  to 
that,  and  put  all  in  a matrass  over  a sand  fire,  to  digest  and 
concoct  together  by  a gentle  heat. 

XIV,  Another  varnish  for  pictures . 

Take  four  ounces  of  gum  arabic,  the  clearest  and  whitest 
you  can  find.  Put  it  to  infuse  in  a pound  of  water,  over  em- 
ber ashes,  for  one  night.  Strain  it  in  the  morning  through  a 
sloth,  having  added  the  bulk  of  a nut  of  Narbonne-honey,  and 
ha  lf  that  quantity  of  sugar  candy.  It  is  not  to  be  used  with  a 
brush. 

XV.  Another  sort . 

Take  aquavit*,  sugar-candy,  and  w hite  of  eggs,  a reasonable 
quantity  of  each.  Beat  all  well  together  to  a froth.  Under- 
neath is  a liquor,  that  is  your  varnish.  You  may  lay  it  with  a 
soft  brush  on  any  sort  of  picture. 

XVI.  The  Chinese  varnish. 

].  Take  pulverised  and  sifted  sealing  wax,  two  ounces.  Put 


SECRETS  IN  ARTS,  TRADES,  &c. 


It  in  a matrass,  with  four  ounces  of  turpentine  oil.  Give  a 
gentle  fire  that  all  may  melt.  If  the  wax  be  red,  you  need  add 
nothing  but  the  oil.  If  black,  some  lamp  black  is  requisite  to 
be  added  still.  And  with  this  first  composition,  you  lay  on 
the  first  coat. 

2.  Next  to  this  have  aloes  and  karabe,  of  each  two  ounces. 
Dissolve  this  in  a varnished  pipkin,  along  with  twelve  ounces 
of  lintseedoil,  till  all  is  well  incorporated.  There  will  fall  a 
ground  to  the  botto  , over  which  will  swim  a very  fine  and 
transparent  liquor.  Of  this  you  are  to  make  your  second 
coat  of  varnish,  laying  it  over  the  other  after  it  is  dry. 

XVII.  To  imitate  jasper,  or  variegated  black  marble . 

Take  sulphur-vivum^  quick  lime,  aquafortis , and  the  green 
land  of  walnuts,  one  ounce  of  each.  Dilute  all  together,  then 
lay  it  with  a brush  on  what  you  want  to  be  jaspered,  whether 
a column,  a table,  or  any  thing  else.  This  done,  put  your  table 
or  column,  &c,  thus  blackened,  in  a dunghill  for  the  space  of 
twelve  days,  and  then  take  it  out  again,  you  will  find  it  well 
veined  and  variegated.  To  give  it  a fine  gloss,  rub  it  with  a 
varnish  composed  as  prescribed  hereafter.  See  Art.  xix. 

XVIII.  Another  way . 

Make  a large  ball,  with  the  drugs  prescribed  in  the  above 
receipt,  to  compose  your  black.  Lay  it  for  a week  in  a dung.* 
hill.  When  by  that  means  it  is  well  variegated,  rub  your  in» 
tended  piece  of  furniture  with  it. 

XIX.  An  excellent  varnish  to  give  a fine  gloss  to  jasper , 
or  variegated  black  marble . 

Take  oil  of  spikenard,  three  ounces  ; sandarak,  well  picked 
and  clean,  two.  Have  a new  earthern  pot  well  glazed.  Set 
It  before  the  fire  a warming,  without  any  thing  in  it.  When 
hot,  throw  in  it  one  half  of  the  sandarak,  and  one  half  of  the 
oil.  Stir  it.  well,  lest  it  should  burn,  or  stick  to  the  pot.— 
When  it  is  nearly  melted,  throw  in  the  remainder  of  the  oil 
and  sandarak.  When  all  is  well  dissolved  and  mixed,  add  a 
piece  of  camphire,  to  take  away  the  smell  of  this  compositions 
and  let  it  dissolve;  then  bottle  and  stop  it  for  use.  It  requires 
to  be  used  hot. 

XX.  A varnish  which , dries  in  two  hours  tune . 

Melt  four  ounces  of  yellow  amber,  in  a new  earthen  pan. 


26 


SECRETS  IN  ARTS,  TRADES,  kc. 

over  kindled  coals.  Take  care,  in  that  operation,  that  the  fire 
should  but  just  reach  and  touch  the  bottom  of  the  pan,  and 
none  should  rise  along  the  sides.  Never  cease  to  stir,  from  the 
moment  it  is  melted,  with  a deal  stick,  add  directly  one  ounce 
of  sealing  wax  As  soon  as  this  is  also  melted,  add  half  an 
-ounce*  of  lintseed  oil,  previously  thickened  with  a litt‘e  gold 
litharge,  then  take  it  off  from  the  fire,  and  stir  it  as  before. — 
When  the  matter  begins  to  be  a little  cold,  then  is  the  time  of 
adding  what  quantity  of  turpentine  oil  you  find  necessary. 


XXL  A varnish  for  copperplate  prints. 

Prepare  water  with  some  isinglass.  Lay,  with  a very  soft 
brush  a coat  of  this  on  the  print.  Next  to  this,  lay  another 
of  the  following  varnish — True  French  spirit  of  wine,  half  a 
pound  ; gum  elemi,  two  drachms,  and  sandarak,  three. 


XXII.  An  admirable  varnish . 

Take  white  mastich  and  lintseed  oil,  what  quantity  you 
please  ; a little  turpentine,  pounded  glass,  burnt  verdigrease 
and  pounded  amber.  Boil  and  melt  all  together  in  a new 
earthen  pot.  When  done  you  will  find  it  to  be  an  admirable 
varnish. 

XXIII.  A varnish  fit  to  lay  on  all  sorts  ofi  colours. 

Take  one  ounce  of  white  amber,  half  an  ounce  of  spirit  of 
iurpentiue,  four  ounces  of  rectified  spirit  of  wine,  (the  true 
French  sort)  one  drachm  of  mastich,  and  as  much  of  juniper 
gum.  Put  all  together  to  infuse  for  eight  days.  Evaporate 
two  parts  of  it  over  a gentle  fire.  What  remains  is  a varnish 
fit  for  laying  on  all  sorts  of  colours,  and  which  will  hurt,  spoil, 
or  damage  none. 

XXIV.  A varnish  known  under  the  appellation  of  Beaume- 
blanc,  or  white  balm. 

Take  spirit  of  wine,  four  ounces  ; gum  lac,  half  an  ounce; 
sandarak,  two  drachms  ; mastich,  one.  Pulverise  the  ingre- 
dients, and  put  them,  with  the  spirit  of  wine,  in  a square  bot- 
tle, large  enough  to  be  but  half  full,  after  the  whole  is  in  it. — 
Dissolve  this  over  a slow  fire,  and  take  care  the  bottle  be  well 
stopped. 


SECRETS  m ARTS,  TRADES,  See. 


2? 


XXV.  vi  varnish  to  be  need  on  plainer , sor£  o/’ 

materials. 

To  the  varnish  of  copal  and  spirit  of  wine,  only  add  some 
calcined  talk. 

XXVI.  An  excellent  varnish , £72  which  may  be  put , 

diluted , whatever  colour  you  like.— At  suits  equally  well 

go.' demit hs  and  limners . 

Take  aspic  and  turpentine  oils,  of  each  one  ounce  ; clean 
picked  sandarak  pulverised,  four  drachms  ; gum  copal,  two. 
The  whole  being  well  pulverised,  put  it  along  with  your  oils 
in  a matrass,  with  the  addition  of  half  a pound  of  spirit  of 
wine  ; and  set  it  in  a balneo  mar'ue.  When  the  matter  is  dis- 
solved, strain  and  keep  it  for  use,  in  a glass  bottle  well  stop- 
ped. 

XXVII.  A Chinese  varnish  suitable  to  all  the  sorts  of 
colours. 

1.  Take  one  ounce  of  white  amber,  one  quarter  of  an  ounce 
of  sandarak,  as  much  of  gum  copal.  Pound  these  together, 
and  put  them  in  a matrass,  perfectly  dry.  To  every  ounce 
pounded  and  mixed  thus  together,  put  three  ounces  of  spirit 
of  wine.  Stop  well  the  matrass  with  a rag,  some  paste  made 
with  flour,  and  then  another  rag  well  tied  over.  Boil  the  var- 
nish thus,  over  ember  ashes,  till  the  whole  is  dissolved  : apply 
it  as  follows  : 

2.  The  piece  intended  for  varnishing  being  previously  well 
polished,  you  lay  on  it  the  proposed  colour  or  colours,  diluted 
in  aqua  vita?,  with  some  isinglass.  When  these  are  dry,  pass 
on  them  two  or  three  coats,  according  to  discretion  5 allowing 
proper  time  between  each  coat  of  varnish  to  dry;  and,  when 
dry,  polish  it  with  olive  oil  and  tripoly,  then  rub  the  oil  with 
a rag. 

Note.  If  you  intend  this  varnish  for  miniature  pictures,  you 
are  to  make  an  addition  of  equal  parts  of  gum  copal  and  white 
amber. 

XXVIII.  Chinese  varnish , particularly  calculated  for 
miniature  painting . 

Take  one  ounce  of  white  karahe , or  amber  ; and  one  drachm 
of  camp  hire,  reduced  into  a subtile  powder,  and  put  in  a ma- 
trass, with  five  ounces  of  spirit  of  wine.  Set  it  in  the  sun  to 
infuse,  during  the  hottest  days,  stir  it  two  or  three  times  a-day. 


28 


SECRETS  IN  ARTS,  TRADES,  Sec. 


After  a fortnight’s  infusing  thus,  put  the  matrass,  for  one  hour, 
over  hot  ashes  ; then  pass  all  through  a cloth,  and  keep  it  in  a 
bottle  well  corked 

XXIX.  How  to  make  a red  with  varnish , of  a much  higher 
hue  than  coral  itself. 

Take  Spanish  vermilion,  grind  it  on  a marble  with  brandy, 
and  add  to  it  the  sixth  or  eighth  part  of  lac.  When  done, 
mix  this  composition  with  as  much  varnish  as  you  may  find  it 
requisite  to  apply. 

XXX.  To  make  it  gridelin  colour . 

Dilute  with  your  varnish  some  blue  verditure,  lake,  and 
whitening. 

XXXI.  To  make  it  green. 

Substitute  for  the  above  ingredients,  German  green  verdi- 
ture, pewter  in  grain,  and  white  lead. 

XXXII.  Another  way  for  the  same. 

Grind,  with  water,  on  a marble  stone,  the  finest  orpine  you 
dan  find,  and  a little  indigo.  Let  it  dry,  then  pound  and  mix 
it  with  varnish. 

XXXIII.  To  make  it  yellow . 

Take  some  Naples  yellow,  and  mix  it  well  with  your  var- 
nish ; then  use  it. 

XXXIV.  To  make  it  blue . 

Take  ultramarine,  lake,  and  whitening,  and  proceed  as  or- 
dered in  the  other  recepts  abovementioned. 

XXXV.  Another  sort  of  varnish. 

Take  shell-lac  in  grains,  two  ounces ; two  of  sandarak  ; black 
rosin,  two  drachms ; and  spirit  of  wine,  one  quarter.  Dissolve 
and  prepare  the  whole  as  above. 

XXXVI.  A transparent  varnish  ft  for  all  sorts  of  colours. 

Take  oil  of  nuts,  and  a little  of  the  finest  Venice  turpentine. 


SECRETS  IN  ARTS,  TRADES,  &c. 


29 


Boil  them  together.  Add  a little  brandy  to  it?  and  boil  it  also. 
Should  the  varnish  prove  too  thick,  thin  it  with  an  additional 
quantity  of  oil.  Make  use  of  a very  soft  brush,  and  lay  it 
carefully  over  the  colours. 

XXXVII.  To  make  sashes  with  cloth  which  will  be  very 
transparent. 

Take  fine  white  cloth  ; the  finer,  the  more  transparent  the 
sashes  will  be.  Fix  the  cloth  very  tight  on  a frame.  Then 
make  some  starch  with  flour  of  rice,  and  lay  a coat  of  it,  as 
smooth  as  you  can,  on  both  sides  your  cloth,  with  a stiff  brush ; 
let  it  dry.  Then  the  following  varnish,  with  a soft  brush, 
having  care  to  lay  it  on  as  equally  as  possible. 

XXXVIIL  The  varnish  Jit  for  the  above  sashes. 

1.  Take  of  the  finest  and  whitest  wax  you  can  find,  six 
pounds  ; of  the  finest  and  clearest  Venice  turpentine,  two  ; 
one  and  a half  of  the  most  perfect  lintseed  oil.  Have  a new 
and  varnished  fnpkin,  larger,  at  least  by  one  third,  than  is  re- 
quisite to  contain  all  these  ingredients.  Put  first,  in  this  pot, 
the  lintseed  and  turpentine  oils  together,  and  set  it  over  a small 
charcoal  fire. 

When  this  begins  to  be  a little  warm,  put  in  the  wax,  cut  in 
small  bits,  and  take  care  to  mix  all  well  with  a clean  stick,  till 
the  wax  is  thoroughly  incorporated  with  the  rest. 

2.  Now  take  the  pot  off  from  the  fire,  and,  while  this  com- 
position is  still  a little  warm,  give  a coat  of  it  on  both  sides, 
prepared  as  before  directed,  and  let  it  dry  in  the  shade. 

Note . You  may  render  your  sashes  still  more  transparent,  if, 
on  both  sides  of  them,  you  lay  a smooth  coat  of  the  following 
varnish,  with  a soft  brush. 

XXXIX.  A fine  white  varnish. 

Take  one  pound  of  fine  Venice  turpentine,  and  as  much  of 
spirit  of  turpentine.  Put  this  in  a glass  matrass,  larger,  at  least 
by  a third,  than  is  wanted  to  contain  the  matter.  Stop  this 
matrass  with  another  smaller  matrass.  The  neck  of  which  is 
to  enter  into  that  bf  the  former.  Have  care  to  lute  well  both 
necks  together,  with  paste  and  paper  ; and  when  the  luting  has 
acquired  a perfect  dryness,  set  the  first  matrass  on  a sand  bath, 
then  set  the  varnish  a-boiling  for  near  an  hour,  after  which 
take  it  off  from  the  fire,  and  let  it  cool.  When  cold,  bottle 
and  stop  it  for  use. 

Note . Turpentine  well  purified  from  all  its  greasy  parts,  si 
the  best  and  fittest  to  make  the  varnish  for  sashes, 

D 


30 


SECRETS  IN  ARTS,  TRADES,  kc . 

XL.  A varnish  to  prevent  the  rays  of  the  sun  from  passing 
through  the  panes  of  window-glasses. 

Pound  gum  adragant  into  powder,  and  put  it  to  dissolve, 
for  twenty-four  hours,  in  whites  of  eggs,  well  beaten.  Lay  a 
coat  of  this  on  the  panes  of  your  windows,  with  a soft  brush, 
and  let  it  dry. 

XLI.  To  raise  a relief  on  varnish. 

1.  Dissolve  one  ounce  and  a half  of  gum  arabic  in  two 
pounds  of  water.  Grind  with  it  bol  armeniac  and  whitening, 
on  a porphyry  stone,  till  all  is  well  united  and  incorporated.— 
With  this  composition  fill  up  the  vacancies  between  the  out- 
lines of  your  design,  and  form,  as  it  is  proper,  the  various  re- 
liefs, with  the  suitable  proportions,  and  according  to  the  sorts 
of  things  you  are  to  imitate  or  represent.  Then  smooth  the 
parts,  and  let  it  dry. 

2.  Next  have  ready  prepared,  in  shells,  the  different  sorts  of 
metals  which  you  want  to  use,  diluted  with  gum-water ; and, 
with  a pencil,  cover  what  places  you  are  to  cover.  When 
this  is  also  dry,  burnish  it  skilfully*  with  an  ivory  tooth,  and 
lay  a coat  of  clear  varnish  over  the  whole.  A moderate  heat 
is  required  for  a moment,  to  help  that  varnish  to  dry. 

XLII.  To  render  silk  stuffs  transparent , after  the  Chinese 
manner  j and  paint  them  with  transparent  colours  like* 
wise , in  imitation  of  the  India  manufactured  silks. 

Take  two  pounds  of  oil  of  turpentine,  very  clear  ; add  to  it 
two  ounces  of  mastich  in  grain,  and  the  bulk  of  a fiibert  of 
camphire.  Let  this  dissolve  by  a gentle  heat,  then  strain  it 
through  a cloth.  Of  this  oil  lay  one  coat,  or  two,  on  both 
sides  of  your  stuff.  Allow,  however,  a sufficient  time  between 
each  coat,  for  each  to  dry,  and  let  the  second  lie  two  days  on 
before  you  touch  the  stuff  again.  When  that  time  is  over, 
draw  the  outlines  of  your  design,  and  flowers,  &c.  cover  this 
with  a preparation  of  lampblack  and  gum-water.  Then  fill 
the  intervals  with  the  intended  and  proper  colours,  suitable  to 
the  purpose,  and  which  ought  to  be  all  transparent  colours, 
diluted  with  a clear  varnish.  When  this  is  done,  and  dry,  lay 
on  both  the  right  and  the  wrong  sides  of  the  stuff  another  coat 
tf  dear  varnish: 


SECRETS  IN  ARTS,  TRADES,  be. 


31 


XLIIL  To  make  a transparent  blue  hue 3 for  the  above 
purpose , 

Take  nine  drachms  of  ammoniac  salt  $ six  of  verdigrease, 
distilled  and  exficcated.  Put  both  these  into  powder.  Dilute 
these  powders  with  tortoise  oil.  Put  this  on  a very  thick 
glass,  which  stop  well,  and  set  over  hot  ashes  for  a week.— 
After  that  time  your  colour  will  be  fit  for  use,  and  make  your 
drawings  with  the  clear  varnish,  as  directed  in  the  preceding 
article. 

XLIV.  To  make  a transparent  yellow  hue 5 for  the  same 

use . 

Take  a new  laid  egg  of  that  very  day,  make  a hole  in  the 
shell,  to  draw  the  white  out  of  it.  Replace,  by  the  same  hole, 
with  the  yolk,  two  drachms  of  quicksilver,  and  as  much  of  am- 
moniac salt ; then  stop  the  hole  with  wax.  Set  that  egg  in 
hot  dung,  or  over  a lamp  fire,  for  four  or  five  and  twenty  days. 

When  that  time  is  over,  break  the  egg,  and  you  will  find 
a very  fine  transparent  yellow,  fit  for  the  use  abovementioned. 

XLY.  To  make  a transparent  green . 

Take  verdigrease,  gold  litharge,  and  quicksilver,  equal  parts. 
Grind  the  whole  in  a mortar,  with  the  urine  of  a child.  Put  it 
next  into  a bottle,  and  set  it  over  a gentle  and  slow  fire,  for  the 
space  of  seven  or  eight  days.  This  composition  will  give  a 
very  fine  transparent  green,  for  the  above  purpose* 

Note,  We  have  given  in  the  Sixth  Chapter,  several  receipts 
for  the  composition  of  sundry  transparent  colours.  We  shall 
therefore  take  the  liberty  thither  to  refer  the  reader,  for  more 
ample  satisfaction,  and  the  completion  of  the  abovementioned 
operation. 

XLVL  To  give  the  abovementioned  painted  silks  all  the 
smell  and  fragr alley  of  the  India  ones. 

It  is  well  known,  that  the  silks,  and  other  things,  we  receive 
from  India,  are  all  tainted  with  a certain  particular  smell,  and 
agreeable  fragrancy,  which  being  their  peculiar,  distinctive, 
and  most  obvious  character,  if  not  imitated  also,  would  help 
not  a little  in  ruining  the  deception  intended  by  the  above  la- 
bour. To  imitate  therefore,  even  this,  you  must  observe  the 
following  direction.  Have  a small  closet,  if  it  be  for  works  at 
large ; or  only  a fine  basket  with  a top  to  it,  playing  upon  hin- 
ges, stuffed  and  lined  all  over  in  the  inside,  if  it  be  for  one 


32 


SECRETS  IN  ARTS,  TRADES,  &c. 


single  piece  of  silk.  Put  in  either  of  them,  and  according  to 
their  extent, a proportionable  quantity  of  cloves,  whole  pepper, 
mace,  nutmeg,  all-spice,  camphire,  &c.  &c.  Put  your  works 
among  those  ingredients,  and  keep  either  the  closet  or  the 
basket  perfectly  close  shut,  till  you  see  they  have  received  a 
full  impression  from  the  odour  of  those  ingredients. 

N B.  With  the  various  compositions  of  varnishes,  and  pre- 
parations of  colours,  we  have  just  given,  there  is  almost  no 
sort  of  works,  coming  from  the  Indies,  but  can  be  performed 
and  imitated. 

XLVII.  The  true  receipt  of  the  English  varnish , such  as 
is  laid  on  sticks  and  artificial  made  canes. 

Smoothen  and  polish  well  your  sticks ; then  rub  them,  or 
your  artificial  made  canes,  with  a paste  made  of  flour.  Then 
having  diluted  in  water  a discretional  quantity  of  Flemish  glue 
and  red  orpine,  give  one  coat  of  this,  very  smooth  and  equal, 
to  your  sticks.  If,  after  this  is  dry,  you  do  not  think  it  suffi- 
cient, give  them  another,  and  let  them  dry.  Then,  give  them 
a third  coat  of  clear  varnish,  made  with  turpentine  and  spirit 
of  wine.  After  this  is  done,  put  a-soaking,  in  an  equal  quan- 
tity of  water  and  chamber-lye,  some  turngol,  cut  very  small. 
With  this  colour  you  touch  your  sticks,  or  canes,  here  and 
there,  with  a hair  brush.  Then  holding  them  perpendicular, 
on  their  small  ends,  between  both  your  hands  you  roll  them 
quick  and  brisk,  (as  when  you  mill  chocolate)  in  contrary  sen- 
ses. This  operation  gives  them  a negligent  and  natural  like 
marbling,  over  which  you  are  to  lay  another  coat  of  varnish, 
and  set  them  to  dry. 

XL  VIII.  A fine  varnish  for  all  sorts  of  colours. 

1.  Take  two  pounds  of  double  rectified  spirit  of  wine ; seed 
lac,  four  ounces;  sandarak,  as  much;  gum  copal,  one.  Set 
all  a dissolving  on  hot  ashes,  in  a matrass,  or  a vessel  with  a 
long  neck.  When  perfectly  dissolved,  strain  it  through  a jelly 
bag,  made  of  new  cloth.  Mix  with  that  which  shall  have 
strained  out  of  the  bag,  one  spoonful  of  oil  of  turpentine  ; 
then  bottle  and  stop  it  well,  and  set  it  in  the  sun.  There  will 
happen  a separation,  and  a certain  coarser  part  will  shew  itself 
at  the  bottom,  while  another  more  clear  will  appear  swimming 
on  the  top.  Divide  carefully,  by  inclination,  the  clearest  from 
the  thickest  part. 

2.  This  last  you  may  use  with  fine  lampblack,  well  picked, 
and  free  from  all  sorts  of  hard  knobs,  to  make  a black  colour 
varnish.  With  it  you  rub  whatever  you  want  to  be  varnished, 


SECRETS  IN  ARTS,  TRADES,  kc. 


33 


and  lay  one,  two,  or  three  coats  of  it,  more  or  less,  according 
as  you  think  proper,  letting  it  dry  between  each  coat.  And, 
when  this  is  done,  you  put  of  the  first  separated  clear  part  of 
your  varnish,  as  much  as  you  find  requisite  to  give  your  work 
a fine  lustre. 

N.  R.  It  is  proper  there  should  be  some  fire  so  near  to  the 
work,  as  it  may  receive  from  it  some  gentle  heat  while  all  this 
is  performing ; and  when  the  whole  is  well  executed,  you 
must  let-  dry  in  the  shade  what  is  varnished,  and  guard  it  against 
the  dust. 

3.  If,  instead  of  black,  you  want  a red  colour,  you  must, 
from  the  very  beginning  of  the  operation,  join  some  tacama- 
haca  gum  with  the  spirit  of  wine  of  double  rectification  above- 
mentioned  ; and,  in  lieu  of  lampblack,  in  the  second  part  of 
the  operation,  you  put  some  cinnabar  in  powder.  Then,  when 
you  have  done  with  laying  the  several  coats  or  varnish,  in 
which  the  cinnabar  is,  you  put  in  the  clear  varnish,  which  is 
destined  to  make  the  last  coats,  for  lustring,  some  dragon’s 
blood  in  tears. 

4.  You  may  put,  in  the  same  manner,  whitening  in  your  var- 
nish, if  you  want  it  white ; or  verdigrease,  if  you  want  it 
green ; and  so  on  any  other  colour  you  want  it  to  be,  pro- 
ceeding, in  respect  to  each  of  them,  as  before  directed  for  the 
others. 

N.  B.  These  varnishes  when  dry,  do  all  require  to  be  po- 
lished, For  that  purpose,  take  a cloth,  dip  it  in  tripoly,  and 
rub,  with  moderation,  over  the  last  coat  of  varnish,  till  you  find 
it  has  acquired  a sufficient  degree  of  lustre  and  equality. 

XLIXs  A 'varnish  to  lay  on , after  the  isinglass „ 

Take  spirit  of  wine,  four  pounds ; white  amber,  fourteen 
ounces  \ mastich,  one  | sandarak,  seven.  Put  all  in  digestion 
for  twenty-four  hours.  Then,  set  the  matrass  on  the  sanda 
and  give  the  fire  for  three  hours,  till  all  is  perfectly  dissolved^ 
Add  after  four  ounces  of  turpentine  oil. 

L,  A varnish  to  gild  with , without  gold . 

Take  half  a pint  of  spirit  of  wine,  in  which  dissolve  one 
drachm  of  saffron,  and  half  a drachm  of  dragon’s  blood,  both 
previously  well  pulverised  together.  Add  this  to  a certain 
quantity  of  shell-lac  varnish,  and  set  it  on  the  fire,  with  two 
drachms  of  soccotrine  aloes, 

LI.  A varnish  water -fir  oof 

1*  Takelmtseed  oil,  the  purest  you  can  find,  put  it  in  a well 

D 2. 


34 


SECRETS  IN  ARTS,  TRADES,  &c. 


glazed  pipkin,  over  red  hot  charcoals,  in  a chafing  dish.  With 
that  oil  add,  while  a warming,  about  the  fourth  part  of  its 
weight  of  rosin.  Make  all  dissolve  together,  and  boil  gently, 
lest  it  should  run  over  the  pot.  At  first  the  oil  will  turn  ail 
Into  a scum  ; but,  continuing  to  let  it  boil,  that  scum  will  in- 
sensibly waste  itself,  and  disappear  at  last.  Keep  up  the  fire 
till  taking  a little  of  that  oil  with  a stick,  you  see  it  draw  to  a 
thread,  like  as  varnish  does.  Then  take  it  off  from  the  fire. 
But  if,  trying  it  thus,  it  prove  too  thin,  add  some  more  rosin  to 
it,  and  continue  to  boil  it. 

2.  When  it  is  come  as  it  ought  to  be,  varnish  whatever  you 
want  with  it,  and  set  it  in  the  sun  to  dry,  or  before  the  fire,  for 
it  cannot  dry  without  the  assistance  of  either  of  these. 

N.  B.  This  composition  of  varnish  has  this  particular  pro- 
perty, viz.  that  if  you  lay  it  on  wooden  wares,  hot  water  itself 
cannot  hurt  it,  nor  have  the  least  power  on  it.  You  may, 
therefore,  make  a very  extensive  use  of  it.  But  you  must  take 
care  to  choose  the  finest  and  most  perfect  rosin,  and  to  boil  it 
well  for  a long  time. 

Quere . Would  not  such  a varnish  be  extremely  useful  to 
preserve  what  is  much  exposed  to  the  injuries  of  the  weather, 
in  gardens  and  elsewhere,  such  as  sashes,  statues,  frames,  hot- 
houses, 8c  c. 


LI  I.  Gallons  varnish , mentioned  in  Chap, . I.  p.  5. 

1.  Take  two  ounces  of  the  finest  lintseed  oil  ; benjamin,  in 
drops,  two  drachms  ; virgin  wax,  the  bulk  of  a filbert.  Boil 
all  this  together,  till  it  is  reduced  to  one  third  ; and,  while  it 
is  a boiling,  never  cease  to  stir  with  a little  stick.  When  done, 
bottle,  or  put  it  in  a large  mouthed  vessel. 

2.  To  use  that  varnish,  warm  a little  the  plate  you  intend  to 
engrave  upon  ; and  taking  a little  of  the  varnish  with  the  tip 
of  your  finger,  spread  it  delicately  over  the  plate.  Observe  to 
put  as  little  of  it  as  you  can,  and  to  lay  it  on  as  smooth  and 
equal  as  possible.  When  done,  smoke  the  plate  on  the  var- 
nished side,  with  a candle,  passing  and  repassing  it  gently  over 
the  flame  of  it,  till  it  is  black  every  where  Set  it  again,  now, 
on  the  chafing-dish,  wherein  there  are  kindled  charcoals ; and 
when  the  plate  has  done  fuming,  then  the  varnish  is  sufficiently 
hardened.  You  may  then  chalk,  draw  and  etch,  whatever  you 
will  on  it. 

Such  is  the  true  receipt  of  the  varnish,  which  the  famous 
Callot  made  use  of  to  engrave  his  most  admired  and  truly  ad- 
mirable subjects. 


SECRETS  IN  ARTS,  TRADES,  &c.  35 

LIIX.  A varnish  to  lay  on  paper. 

Begin  by  laying  on  your  paper  one  first  coat  of  very  clear  and 
thin  size.  This  being  dry,  melt  three  parts  of  oil  of  spike  and 
one  of  rosin  together;  and,  when  come  to  the  consistence  of  a 
varnish,  you  lay  one  second  and  light  coat  of  this  over  the  first 
made  with  size.  This  varnish  is  very  fine,  when  very  smoothly 
and  equally  laid  on. 

LIV,  Another  varnish . 

Take  mastich  and  sandarak,  equal  parts,  of  each  two  ounces. 
Pound  them  into  a fine  powder.  Have  three  ounces  of  lintseed- 
oil,  and  as  much  of  spirit  of  wine,  in  which,  being  mixed,  you 
put  your  powders.  Set  this  in  a well  stopped  matrass,  in  a bal- 
neo  mariea,  to  boil  and  concoct  together  for  one  hour;  and  this 
varnish  is  done. 

LV.  IP  Abbe  Mulot’s  varnish . 

Take  of  spike  oil,  one  ounce,  pulverised  sandarak,  half  an  ounce. 
Put  all  in  a bottle,  and  set  it  in  the  sun  till  perfectly  dissolved. 
This  composition  is  particularly  fit  to  varnish  gold  or  silver,  in 
shell,  which  has  been  laid  on  with  a hair  pencil. 

LVI.  A varnish  to  lay  over  plaister  works , or figures* 

Take  fine  white  Alicante  soap,  rasp  it  fine,  and  put  it  in  a 
glazed  pipkin.  Dissolve  that  soap,  in  the  pipkin,  with  your 
finger  and  a little  water,  added  gradually,  and  little  at  a time, 
till  it  comes  thick  and  milky.  Cover  this,  for  fear  dust  should 
come  to  it,  and  let  it  rest  so  for  seven  or  eight  days.  Take, 
next,  a soft  and  short  hairy  brush,  dip  it  in  this  soapy  pre- 
paration, and  wash  the  plaister  figure  all  over  with  it,  then  set 
it  a drying.  When  dry,  rub  it  gently  with  a piece  of  cloth, 
placing  yourself  between  it  and  the  light,  that  you  may  perceive 
better  the  places  which  take  the  polish;  when  done  thus  every 
where,  your  statue  will  appear  as  white,  shiny,  and  beautiful, 
as  alabaster. 

LVI  I.  Avery  fine  red  varnish. 

l.  Take  oil  of  spike,  one  pound,  and  litharge  as  rmicha 
Boil  both  together, for  one  quarter  of  an  hour,  in  order  to  clari* 
fy  the  oil,  or,  what  is  called,  ungreasing  it.  When  thus  clari- 
fied, take  one  pound  of  it,  and  six  ounces  of  shell-lack,  which- 
melt  together  in  a matrass,  or  a varnished  :pipkin.  Then,  di« 


56 


SECRETS  IN  ARTS,  TRADES,  kc . 


lute  it  in  some  cinnabar,  which  had  previously  been  grinded  on 
a stone  with,  chamber-lye,  and  the  varnish  is  done. 

2.  Of  this  composition,  lay  first  three  or  four  coats  on  your 
work,  and  allow  time  sufficient,  between  each  coat,  to  dry. 
when  the  last  is  given,  lay  on  another  of  pure  and  clear  varnish, 
without  cinnabar,  made  with  one  part  spirit  of  wine,  and  four 
of  oil  of  spike,  and  some  shell  lac. 

LVIII.  A varnish  to  gild  certain  parts  of  stamped  leathers , 
silvered  in  some  places  with  pewter  leaves , and  otherwise 
adorned  with  running  stalks  of  flowers , various  colours , 
flgures , and  other  sorts  of  embellishments, 

1.  Takelintseed  oil,  three  pounds;  of  that  sort  of  varnish 
called  Arabian  sandarak , and  rough  pitch,  equal  quantities, 
one  pound  each  ; and  saffron,  half  an  ounce.  Instead  of  saf- 
fron, you  had  better,  if  you  have  that  opportunity,  make  use 
of  the  staminus  of  lilies,  which  are  infinitely  preferable.  Put 
all  into  a varnished  pipkin,  and  set  it  over  the  fire.  Take  great 
care  not  to  have  it  burn  ; and,  to  avoid  it,  keep  continually 
stirring  the  matter  with  a spatula.  When  you  want  to  know 
whether  it  be  or  not  sufficiently  done,  have  a hen’s  feather,  just 
dip  it  in,  and  off  quickly.  If  the  feather  be  grizzled,  it  is  a 
proof  the  matter  has  sufficiently  boiled.  Therefore,  take  it 
off  from  the  fire,  and  throw  in  one  pound  of  well  chosen  and 
picked  hepatica  aloes,  in  powder.  Mix  well  this  with  the  spa- 
tula, and  set  it  again  on  the  fire,  to  concoct  well  this  addition 
with  the  rest.  If  you  see  that  your  matter  boils  and  swells, 
you  must  take  it  off,  and  let  it  rest  awhile ; during  which  time, 
take  some  of  the  coals  away.  Set  it  now  again  upon  this  more 
moderate  fire,  stirring  always  well,  that  all  may  be  perfectly  in- 
corporated. As  soon  as  this  is  done,  take  it  off,  let  it  cool  a 
little,  and  strain  it  through  a strong  coarse  cloth,  and  keep  it 
for  the  following  use. 

2.  Apply  the  silver,  or  pewter  leaves,  on  the  leather,  with 
the  white  of  an  egg,  or  gum-water.  When  these  are  pro- 
perly laid  on,  give  one  coat  of  the  above  varnish,  quite  warm, 
on  such  places  as  you  want  to  appear  gilt,  and  set  it  in  the  sun. 
When  dry,  it  looks  like  gold. 

N.  B.  The  Arqbian  sandarak , we  have  prescribed  above,  is 
known  by  some,  under  the  denomination  of  Cum  of  Jupiter. 

LIX.  An  excellent  varnish. 

Put  in  a glass  bottle,  one  p9und  of  white  mastick.  Pour 
over  it  oil  sufficient  to  cover  it.  Place  the  bottle  over  the  coals, 
or  very  hot  ashes.  The  mastick  will  melt.  Take  the  bottle 


SECRETS  IN  ARTS,  TRADES,  &c. 


37 


off  the  fire  and  shake  it  well,  to  see  that  the  whole  be  perfectly 
dissolved.  This  varnish  is  very  good  to  lay  over  prints,  sta® 
lues,  columns,  wood,  &c. 

LX.  A curious  and  easy  varnish  to  engrave  with  aqua - 

fortis . 

Lay  on  a copper  plate,  as  smooth  and  equal  a coat  as  you 
can  of  Lintseed  oil.  Set  the  plate  on  a chaffing  dish  in  which 
there  is  a gentle  heat  of  half  consumed  charcoal,  that  the  oil 
may  congeal  and  dry  itself  gently  on.  When  it  has  acquired 
the  consistence  of  a varnish,  you  may  draw  with  a steel  point 
in  order  to  etch  your  copper,  and  put  on  the  aquafortis  after- 
wards, 

LXI.  A most  beautif  ul  Chinese  varnish . 

Take  one  ounce  of  the  whitest  amber,  or  instead  of  this,  the 
same  quantity  of  the  whitest  gum  copal ; four  drachms  of  san- 
darak ; two  drachms  of  fine  mastick  in  drops.  Put  all  this  re- 
duced into  a powder,  in  a fine  glass  mattrass ; then  pour  over  it 
one  of  the  finest  turpertine  oil.  Stop  the  matrass  first  with  a 
cork,  then  with  a bladder  wetted.  Set  this  to  infuse  over  a slow 
fire  for  twelve  hours.  After  this  uncork  the  matrass  and  let  it 
cool ; then  pour  gently  in  it,  six  ounces  of  good  spirits  of  wine, 
and  stop  it  again  as  well  as  before.  In  that  situation  set  it  on 
ember  ashes,  or  rather  in  balnea  marie.  In  the  space  of  another 
twelve  hours,  you  will  find  that  the  spirit  of  wine  will  have  dis- 
solved all  the  gums.  Then  while  the  varnish  is  still  quite  warm 
strain  it  through  a cloth  ; bottle  and  cork  it,  to  keep  for  use. 

LX  II.  A varnish  to  render  transparent  the  impression  of  a 
print  which  has  been  glued  on  glass , and  the  paper 
scratched  off. 

Take  turpentine,  and  a very  little  oil  of  the  same  spirit.  Di- 
lute all  well  together,  and  lay  one  coat  on  the  strokes  of  engrav- 
ing  which  are  left  fixed  on  the  glass. 

LXIXL  The  varnish  fit  for  Bronzing » 

Pound  into  subtile  powder,  one  ounce  of  the  finest  shell-lac. 
Put  it  into  a glass  mattrass  of  three  half  pints  size.  Pour  upon 
it  half  a pint  of  the  best  French  spirit  of  wine.  Stop  it  well, 
and  place  it  in  the  cool  for  four  days,  that  the  lac  may  have  time 
to  dissolve  at  leisure.  During  that  time  shake  the  mattrass,  as 


Sa  SECRETS  IN  ARTS,  TRADES,  &c. 

if  you  were  washing  it,  four  or  five  times  a day,  for  fear  the  lac 
should  make  a glutinous  lump,  and  stick  to  the  bottom.  Should 
your  lac,  at  the  end  of  these  four  days  be  yet  undissolved,  set 
it  on  a gentle  sand  bath,  to  help  finishing  it ; and  when  dissolv- 
ed to  perfection  the  varnish  is  done. 

Note.  Pour  the  spirit  of  wine  on  the  lac  gently,  and  a little 
at  a time,  that  it  may  penetrate  the  powder  the  better.  Also 
stop  pouring  by  intervals,  and  shake  the  mattrass  as  it  were  for 
rinsing,  in  order  to  mix  all  well ; thus  do  till  you  have  poured 
-all  the  spirit  of  wine  upon  the  lac. 


CHAP  IV. 


Secrets  relative  to  Mastichs,  Cements,  Sealing- 
W ax,  &c.  &c. 

I.  A subtile  mastich  to  mend  all  sorts  of  broken  vessels, 

^I^AKE  whites  of  eggs,  and  beat  them  well  to  a froth.  Add 
JL  to  this  soft  curd  cheese  and  quick  lime,  and  begin  beating 
a-new  all  together.  This  may  be  used  in  mending  what- 
ever you  will,  even  glasses,  and  will  stand  both  fire  and 
water. 

II.  A mastich  for  broken  wares. 

Pound  a stone  jar  into  an  impalpable  powder,  and  add  to  it 
some  whites  of  eggs  and  quick-lime. 

III.  Another  Mastich. 

Take  quick-lime,  cotton  and  oil,  of  each  equal  parts  in 
weight. 

IV.  A cement . 

Take  rosin,  one  ounce ; grinded  tile,  half  an  ounce  \ mastich, 
four  ounces. 


SECRETS  IN  ARTS*  TRADES*  Sec.  3$ 

V.  A glue  to  lay  ufion  gold. 

Boil  an  eeTs  skin,  and  a little  quick-lime  together ; when 
boiled  gently  for  the  space  of  half  an  hour,  strain  it,  and  add 
some  whites  of  eggs  beaten  ; bottle,  and  keep  it  for  use.  The 
method  to  use  it  afterwards,  is  to  warm  it,  and  lay  a coat  of  it 
on  marble,  delph,  Worcester,  Stafford,  or  any  other  earthen 
wares,  &c.  and  when  nearly  dry,  write,  paint,  or  draw  what  you 
please  on  it  with  a pencil,  and  gold  in  shell, 

VI.  A size . 

Take  half  a pound  of  fresh  cod’s  tripes,  boil  it  in  two  quarts 
of  white  wine,  reduced  to  one-third.  To  take  off*  the  bad 
smell,  add,  while  it  boils,  a little  cloves  and  cinnamon.  Then 
throw  this  size  in  whatever  mould  you  please,  to  make  it  in 
flakes. 

VII.  An  exceeding  good  size , called  Orleans  size. 

Take  the  whitest  isingglass  you  can  find  ; soak  it  in  finely 
filtered  quick-lime  water,  during  twenty-four  hours.  When 
that  time  is  over,  take  it  off*  bit  by  bit,  and  boil  it  in  common 
water. 

VIII.  Another  for  the  same  purpose , which  resists  water . 

Take  quick-lime,  turpentine,  and  soft  curd  cheese.  Mix 
these  well  together  ; and,  with  a point  of  a knife,  put  of  this 
on  the  edges  of  the  broken  pieces  of  your  ware,  then  join  them 
together. 

IX,  A cold  cement for  cisterns  and  fountains . 

Take  litharge  and  boil  in  powder,  of  each  two  pounds  ; yel« 
low  ochre  and  rosin,  of  each  four  ounces ; mutton  suet,  five 
ounces  ; mastich  and  turpentine,  of  each  two  ounces ; oil  of 
nuts,  a sufficient  quantity  to  render  malleable.  Work  these  all 
together ; and  then  it  is  fit  for  use. 

X.  A lute  to  join  broken  vessels. 

Dissolve  gum  arabic  in  chamber-lye  over  a chafing-dish  ; stir 
with  a stick  till  perfectly  dissolved,  then  add  an  equal  weight 
of  flour,  as  you  had  of  gum  arabic,  and  concoct  the  whole  for 
one  quarter  of  an  hour,  or  more,  if  requisite. 


40  SECRETS  IN  ARTS,  TRADES,  See. 

XI.  A strong  glue  with  soft  cheese . 

1.  Take  a cheese  from  Auvergne.  Let  it  be  the  fattest  and 
newest  you  can  find,  neither  dry  nor  moist ; wash  it  in  very 
warm  water,  so  long  as  it  should  remain  clear ; then  set  it  to 
rot  in  clean  water,  till  it  begins  to  stink.  As  soon  as  you  find 
It  is  so,  boil  it  in  water  with  quick-lime ; and  when  dissolved 
into  a glue,  take  it  off  from  the  fire,  it  is  done. 

2.  If  you  dry  some  whites  of  eggs  in  the  sun,  and  then  pound- 
ing them  into  powder,  you  shall  add  some  of  that  powder  with 
the  cheese  when  you  dissolve  it  along  with  the  lime,  the  glue 
will  be  so  much  the  stronger. 

N.  B.  Observe  that  no  other  cheese,  besides  that  which 
comes  from  Auvergne,  has  the  quality  requisite  for  this  com- 
position. 

XII.  To  make  a strong  mastic h. 

Take  one  pound  of  rosin,  a quarter  of  a pound  of  shoe-ma- 
kers rosin,  two  ounces  of  new  wax,  two  of  black  pitch,  and 
one  of  tallow.  Boil  ail  gently  together  on  a slow  fire ; and 
when  well  incorporated  together,  add  some  brick  dust,  finely 
sifted,  according  to  discretion. 

N.  B.  The  quantity  of  tallow  is  to  be  proportioned  to  the 
degree  of  dryness  you  require  in  this  composition  ; so  that  you 
may,  on  that  principle,  discretionally  increase  or  diminish  the 
prescribed  dose  of  that  ingredient. 

XIII.  Sealing  wax.  Recipe  1st. 

Take  one  pound  of  shell-lac,  benjamin  and  black  rosin,  half 
an  ounce  each,  vermilion,  eight  drachms  ; the  whole  being 
melted,  make  your  sticks  on  a marble  table,  rubbed  over  with 
oil  of  sweet  almonds,  and  take  care  to  have  done  before  the 
wax  is^cold. 

XIV.  Another.  Recipe  2d. 

Take  turpentine  and  sailor's  pitch,  six  drachms  of  each  ; 
either  shell  lac,  or  dragon’s  blood,  one;  sulphur  critinum,  two. 
Mix  and  incorporate  all  together  over  the  fire,  and  form  your 
sticks. 

XV.  Another.  Recipe  ©d. 

Take  gum  hxderacea>  shell-lac,  sandarak  of  the  ancients, 
otherwise  printer’s  rosin,  and  mastich,  two  ounces  of  each  ; 


41 


SEQRETS  IN  ARTS,  TRADES,  &c, 

rosin,  four  ounces,  turpentine,  half  an  ounce  Mix  all  in  a very 
warm  bell-metal  mortar,  and  make  your  sticks. 

XVI.  Another . Recipe  .4th. 

Take  sbell-lac  and  mastich,  of  each  one  ounce;  dragon’s 
blood,  three;  cinnabar,  half  an  ounce;  turpentine,  one.  Mix 
all,  and  make  your  sticks. 

XVII.  Another . Recipe  5th. 

Take  Greek  pitch,  one  pound;  white  mastich,  five;  frankin* 
cense,  five  ounces;  cinnabar,  as  much  as  you  see  requisite  to 
give  the  red  colour.  Put  the  pitch  first  on  the  fire  to  melt; 
next  put  the  mastich,  and  the  powder  of  frankincense;  and  last 
of  all,  the  cinnabar  grinded  with  a little  oil.  Incorporate  all 
well  and  take  it  from  the  fire,  to  make  your^sticks. 

XVIII.  Another.  Recipe  6th. 

Take  shelhlac,  twelve  ounces;  mastich  and  rosin,  of  each  one 
ounce;  dragon’s  blood,  three;  minium,  half  an  ounce  Dissolve 
the  shell-lac  in  vinegar:  add  if  you  will  vsome  turpentine  oil 
and  sulphur,  to  the  quantity  of  four  ounces  of  each,  and  two  of 
ammoniac  salt.  The  whole  being  melted,  make  as  fast  as  you 
can,  your  sticks  of  the  form  and  size  you  like. 

XIX.  Another . Recipe  7th.  Excessively  good . 

1 Take  shell-lac,  See,  pound  them  all  into  a very  fine  and 
impalpable  powder.  Then  have  two  wooden  pallets  present 
upon  them,  before  the  fire  some  powder  of  one  sort  to  melt, 
then  move  and  stir  it  with  the  said  pallets.  Take  again  of  ano- 
ther powder  in  the  same  manner,  and  mix  it  in  the  same  way 
before  the  fire  with  the  first.  Then  another  and  another,  till 
they  are  all  by  this  method,  perfectly  well  amalgamated  toge- 
ther. 

.2  Ha  e now  some  cinnabar  in  powder,  which  put  in  a pan 
with  water.  In  that  water  and  cinnabar  powders,  set  to  infuse, 
or  only  touch  your  incorporated  gurus,  to  make  this  composi- 
tion take  colour.  When  thus  sufficiently  coloured,  take  it  out 
of  the  water  with  both  your  hands  and  the  wooden  pallets,  and 
have  a person  to  help  you.  Thus  having  wetted  his  hand,  will 
draw7  some  of  the  said  gum,  and  handling  it  on  a table,  will 
form  the  sticks.  For  two  pounds  cf  gums,  two  ounces  of  cin- 
nabar are  wanted. 


E 


42  SECRETS  IN  ARTS,  TRADES,  &c. 

XX.  Another . Recipe  8th. 

Take  gum-lac,  four  ounces,  cinnabar,  half  an  ounce,  rosin,  four 
and  a half.  Melt  the  rosin  with  a little  vinegar  and  skim 
it.  Then  take  it  out  of  the  fire,  then  mix  it  with  the 
lac  and  vermillion  both  well  pulverised, and,  when  the  compo- 
sition begins  to  cool,  form  your  sticks  with  it. 

XXI.  An  excellent  sealing  wax , by  Girardot.  Recipe  9th. 

Put  four  ounces  of  rosin, and  four  and  a half  of  whitening,  and 
melt  them  together  in  a non-varnished  pipkin,  over  kindled 
coals.  While  this  is  in  fusion,  have  another  pot,  similar  to  this, 
in  which  you  keep  two  ounces  of  shell-lac,  in  dissolution  with 
vinegar.  Now  steep  a wooden  stick  in  the  first  pot,  and  another 
in  the  other  pot;  then,  over  a chahngdish,  turn  quickly,  one 
over  another,  the  ends  of  your  two  sticks  together,  to  mix  and 
incorporate  well  what  matter  they  shall  have  brought  along 
with  them  from  each  pipkin.  And  after  having  turned  them 
thus  a reasonable  time,  you  see  both  matters  are  well  embodi- 
hed,  steep  them,  at  different  times,  in  the  following  liquor  to 
colour  them, 

XXII.  A colour  for  the  above  wax . 

Grind  upon  a porphyry  table,  two  ounces  of  cinnabar,  with 
a sufficient  quantity  of  nut-oil,  to  make  it  a liquid.  In  this  you 
dip  your  sticks  at  several  times,  and  take  care  in  doing  it,  the 
composition  should  not  grow  cold.  Wherefore  you  must  each 
time  you  steep  them  in  the  colour,  carry  them  again  over  the 
chafing  dish  to  keep  them  in  a due  state  of  mallability.  And 
when  you  find  the  matter  sufficiently  tinged  with  red,  form 
your  sticks  as  usual,  on  a marble  or  well  polished  table. 

XXIII.  To  make  sealing  wafers . 

Take  very  fine  flour,  mix  it  with  glair  of  eggs,  isinglass,  and 
a little  yeast ; mingle  the  materials ; beat  them  well  together, 
make  the  batter  thin  with  gum  water,  and  spread  it  even  on  tin 
plates,  and  dry  it  in  stoves ; then  cut  them  for  use.  You  may 
make  them  what  colour  you  please,  by  colouring  the  paste,  say 
with  Brazil,  or  Vermillion  for  red  ; Indigo  Sc c.  for  blue,  &c. 


CHAP  V. 


Secrets  of  Glass  Manufactory,  and  the  making 
Compositions  to  imitate  Precious  Stones3 
commonly  called  French  Paste. 

1.  A cement  to  render  crystal  like  diamonds , and  give  the 
sapphires  of  A lens  on  a hardness  to  cut  glass  with  ease. 

Blake  a strong  dough  with  sifted  barley  flour  an  d petroly  (or 
rock  oil.)  Divide  this  paste  in  two  equal  parts.  In  one  of 
them  range  your  stones,  so  that  they  should  not  touch  one  ano- 
ther. With  the  other  part  of  your  paste  cover  this.  Wrap 
up  the  whole  with  a good  lute,  and  give  it  a wheel  fire  for  four 
or  five  hours,  gradually  increasing  the  strength  of  the  fire  be- 
tween every  two  hours.  Then  you  will  have  a lump  of  stones* 
which  will  sparkle  like  true  diamonds. 

II.  A way  of  making  diamonds. 

Grind  on  marble,  equal  quantities  in  weight  of  calcined  sil- 
ver, and  French  loadstone.  Stratify  in  a crucible,  your  crystal 
stones,  ready  cut  in  imitation  of  diamonds,  with  this  powder. 
Cover  it  with  another  crucible,  and  lute  it  well.  Then  set  it  in 
a glasS'inaker’s  furnace,  for  one  month. 

III.  To  soften  crystal , or  any  other  coloured  stone , so  that 
you  may  cut  it  like  cheese  ; and  restore  it  afterwards  to 
its  primary  hardness . 

1.  Take,  in  the  month  of  August,  goose’s  and  goat’s  blood. 
Let  each  of  them  dry  till  very  hard.  When  you  want  to 

soften  your  stones,  take  an  equal  quantity  of  each  blood,  pul- 
verise it  and  put  in  a pot,  then  pour  over  a strong  lye  made  of 
pearl  ashes.  Leave  it  so  for  a while,  stirring  often  ; then  add 
about  a pint  of  strong  vinegar.  In  this  preparation,  if  you  set 
your  stones,  and  warm  it  a little  over  the  fire,  they  will  become 
so  soft,  that  you  may  take  and  cut,  or  form  them  afterwards  as 
you  will. 

2.  To  restore  them  again  to  their  former  hardness,  put  them 
in  cold  water,  and  let  them  there  lay  for  about  one  hour  and  a 
quarter,  it  will  be  quite  sufficient.. 


44 


SECRETS  IN  ARTS,  TRADES,  &c. 


3.  But  to  give  them  their  lustre  again,  you  must  take  anti- 
mony in  powder,  spread  it  on  a very  smooth  leaden  table,  then 
polish  your  stones  on  this.  It  will  restore  them  to  their  bright- 
ness as  before. 

IV.  Another  equally  useful  to  soften  crystal  and  steel. 

Make  a strong  lye  of  quick  lime  and  pearl  ashes.  Run  it 
nine  or  ten  times  more  over  new  lime  and  new  pearl  ashes,  each 
time.  Then  put  to  soak,  in  this  preparation,  any  piece  of  crys- 
tal or  steel,  for  the  space  of  twenty-four  hours,  and  you  will 
see  what  a surprising  degree  of  softness  they  will  have  acquired 
by  it. 

V.  A paste,  which  will  produce  as  beautiful  emeralds  as  na- 
tural ones . 

Calcine,  six  different  times,  rock  crystal,  and-  plunge  it,  as 
many  times,  in  pure  cold  water.  Grind  it  into  powder,  on  a 
rock  crystal  stone,  with  a mullar  of  the  same.  When  you  have 
rendered  the  powder  very  fine  and  impalpable,  to  one  pound 
of  it,  add  another  of  salt  of  tartar,  drawn  from  red  tartar,  mix- 
ed well.  Join  to  this,  sixty  grains  of  red  copper,  and  fifteen  of 
silver,  both  in  shell,  but  grinded  separately.  Now  mix  the  last 
powders  with  the  former,  on  a marble  stone,  and  put  all  toge- 
ther in  a clean  and  double  nealed  crucible.  Lute  it  well  with 
its  lid,  and  when  the  lute  is  perfectly  dry,  put  the  crucible  for 
six  days  on  a clear  but  gentle  fire  ; then  increase  the  fire  till  the 
crucible  becomes  red  hot,  place  it  immediately  in  the  ardent 
and  glass  melting  furnace,  and  keep  it  there  in  the  same  degree 
of  heat  for  a month,  without  interruption.  Then  let  the  cruci- 
ble cool  gradually  in  the  furnace,  which  is  done  by  letting  the 
fire  go  out  of  itself,  having  previously  stopped  all  the  holes  and 
openings  of  the  furnace.  When  you  break  it,  you  will  find  a 
beautiful  green,  which  is  fit  to  cut  by  the  lapidary. 

Note.  Be  careful  of  this  composition,  for  it  has  ail  the  merit 
and  advantage  of  the  true  emerald . It  vies  with  it  in  weight,  co- 
lour, and  hardness  In  short,  the  greatest  connoisseurs  cannot 
distinguish  these  emeralds  from  the  finest  real  ones. 

VI.  A composition,  the fundamental  b..ds  of  all  enamels. 

1.  Grind  on  marble,  and  sift  through  a very  fine  sieve,  equal 
quantities  of  lead  and  pewter-calx.  Put  it  in  a varnished  pip- 
kin filled  over  with  water.  Boil  it  some  while  ; then  pour  it 
by  inclination,  into  another  vessel.  Put  new  water,  to  boil  a- 
gain  over  the  calx,  and  decant  it  as  before,  on  the  first  water  ; 


SECRETS  IN  ARTS,  TRADES,  &c. 


45 


which  process  you  repeat  till  you  have  entirely  dissolved  all 
the  calx.  If  some  part  of  the  metal  remain  at  the  bottom,  too 
gross  to  be  entirely  carried  by  the  waters,  it  must  be  put  in  a 
melting-glass  furnace  to  calcine,  having  care  to  take  out,  in 
proportion  as  it  turns  into  calx,  the  upper  part  of  the  matter. 
When  it  is  all  calcined,  continue  dissolving  it,  by  means  of 
boiling  water,  as  you  did  at  first.  When  you  have  got  all  your 
waters  of  dissolution,  vaporise  them  over  a slow  fire  ; and  par- 
ticularly towards  the  end  of  the  evaporation,  have  a singular 
care  that  the  fire  be  not  too  fierce,  which  then  remains  at  the 
bottom,  very  fine  and  subtilized. 

2,  To  twenty-five  pounds  of  this  calx  add  an  equal  weight 
of  frit,  made  of  tarce,  or  white  sand,  well  pounded  and  sifted 
through  a very  fine  sieve,  and  four  ounces  of  white  salt  of  tar- 
tar, pounded  and  sifted  in  the  same  manner.  Put  these  ingre- 
dients in  a melting-glass  furnace  ; melt  and  purge  them  there 
for  ten  hours.  Then  having  taken  the  pot  off  from  the  fire, 
take  out  the  matter,  which,  after  having  well  pulverised,  keep 
it  in  a close  dry  place,  where  dust  cannot  come  at  it.— Such  is 
the  first  and  principle  matter  to  be  used  in  the  composition 
of  enamels,  of  whatever  sort  of  colour  you  want  to  make  them, 

-VII.  Zb  make  an  enamel  as  white  as  milk . 

2.  To  six  pound  weight  of  the  matter  just  described,  put  for* 
ty-eighf  grains  of  magnesia,  prepared  as  follows. 

2.  Put  in  an  iron  spoon,  to  the  reverberating  fire,  the  bits  of 
magnesia,  rough  as  it  comes  from  the  mine.  When  it  is  whit- 
ened, pour  good  vinegar  over  it,  then  break  it  small,  and  wash 
it  several  times  with  warm  water.  Dry,  pulverise,  and  sift  it, 
then  preserve  it  in  a covered  pot  for  use. 

3.  This  magnesia,  and  primary  enamel  matter,  you  put  in 
the  above  prescribed  proportion,  in  a crucible,  on  a glass  melt- 
ing fire,  then  throw  the  whole  contents  into  clear  water  ; dry  it 
melt  it  again,  as  before,  and  throw  it  in  the  water  again,  and  so 
on.  This  operation  repeat  three  times.  Being  thus  well  puri- 
fied, if  you  find  it  not  quite  white  enough,  add  a little  more 
magnesia,  and  begin  the  same  process  as  before.  Then  take  it 
off  the  fire,  and  make  it  into  small  round  cakes.  Such  is  the 
method  of  preparing  the  enamel  to  paint  with  on  gold,  and 
Other  metals. 

VIII.  To  make  an  enamel  turquoise  colour . 

_ Put  six  pounds  of  the  said  enamel  primary  matter  in  a var- 
nished crown-glass  pot.  Melt  and  purge  it  three  times  as  usuafc 
as  prescribed  in  the  preceding  article.  On  the  third  time  pro-; 

E 2 ! 


SECRETS  IN  ARTS,  TRADES,  &c. 


ject  at  four  separate  times,  three  ounces  of  scories  of  copper, 
prepared  as  directed  in  Art.  ix.  mixed  with  ninety  six  grains 
of  zaffar  prepared  the  same  way  exactly,  and  in  the  same  man- 
ner as  the  magnesia,  and  forty  eight  of  that  very  magnesia  in 
subtile  powder.  Stir  well  the  matter  on  the  fire,  at  the  time  of 
each  projection,  with  a long- handled  iron  hook  ; and  when  the 
colour  seems  to  be  to  your  liking,  take  it  out  of  the  fire,  and 
make  into  small  round  cakes  as  usual.  This  will  make  a mosjt 
beautiful  torquoise  enamel, 

IX.  How  to  prepare  the  scories  of  copjier  for  the  above 
purpose 

This  preparation  is  very  simple.  Wash  first,  the  scories 
well,  and  set  them  to  calcine  three  days  at  the  entrance  of  a re- 
verberating furnace.  Then  grind  this  and  sift  it.  Calcine  a- 
gain  as  before,  grind  and  sift  the  same,  repeating  this  operation 
three  different  times.  When  finished,  it  is  called  a calx  of  cop- 
per. Of  this,  mix  three  ounces  with  forty-eight  grains  of  pre- 
pared magnesia,  and  ninety-six  of  zaifiar  also  prepared,  for  a 
projection  on  enamel’s  primary  matter,  to  make  a fine  sort  of 
turquoise  colour. 

X.  To  make  blue  enamel. 

Put  in  a varnished  crown  glass  pot,  in  a melting  glass  furnace, 
four  pounds  of  common  primary  enamel  matter;  two  ounces 
of  zaffar,  and  forty  eight  grains  of  prepared  scories  of  copper, 
all  previously  well  pulverised  and  mixed.  When  this  compo- 
sition is  in  good  fusion,  throw  it  in  water,  then  dry  it,  and  put 
it  again  in  the  same  pot.  Leave  it  there  till  the  matter  is  well 
incorporated,  and  proceed  as  directed  for  the  others. 

XL  To  make  green  enamel , 

1.  Melt  and  purge,  by  the  glass  melting  fire,  and  in  a var- 
nished crown  glass  pot,  four  pounds  of  the  primary  enamel 
matter.  Leave  it  there  twelve  hours,  after  which  throw  it  in 
water,  dry  it,  and  put  it  again  in  the  same  fire,  for  the  same 
time,  to  cleanse  it  well. 

2,  Grind  into  a very  subtile  powder,  some  of  the  aforesaid 
scories  of  copper,  and  some  scories  of  iron.  Mix  these  pow- 
ders together,  viz.  two  ounces  of  the  former,  and  forty  eight 
grains  only  of  the  latter  ; which,  being  divided  into  three  dif- 
ferent parcels,  project,  at  three  distinct  times,  on  the  enamel 
matter  in  fusion,  stirring  well  with  an  lion  hook  at  the  time  of 


SECRETS  m ARTS,  TRADES,  &c. 


47 


each  projection,  that  the  colour  may  better  incorporate  ; and 
in  twelve  hours  afterwards  you  will  find  a very  fine  green 
enamel. 

XII.  To  make  a black  shining  enamel. 

Take  of  our  primary  enamel  matter  in  powder,  four  pounds  j 
red  tartar,  four  ounces  ; and  of  our  prepared  magnesia,  in  sub- 
tile powder,  two.  Put  all  this  into  a varnished  pipkin,  so  large 
that  all  these  powders  together  shall  not  corne  higher  than  the 
third  part  of  the  vessel,  this  matter,  when  melted,  swells  very 
much.  When  in  perfect  fusion,  throw  it  into  water  ; take  it 
out  to  dry,  then  put  it  again  in  the  pot,  and  purify  it  as  before. 
Do  so  till  you  find  it  sufficiently  purified  ; then  take  the  pot  off 
the  fire  and  the  matter  out  of  the  pot. 

XIII.  To  make  an  enamel^  purple  colour 

Reduce  into  subtile  powder,  and  mix  well  together,  six 
pounds  of  our  primary  and  general  enamel  matter  ; three  oun^ 
ces  of  prepared  magnesia,  and  six  of  scones  of  copper,  pre- 
pared as  before  mentioned.  Melt  and  purify  all  this  in  a var- 
nished pipkin,  by  placing  it  in  a melting  glass  furnace.  When 
in  good  fusion,  throw  this  matter  in  water ; dry  it,  and  put  it 
again  in  the  same  pot  to  purify  it  anew  by  the  same  process. 
If  you  find  your  colour  to  your  liking,  take  the  pot  off  from  the 
fire,  and  keep  your  enamel  for  use0 

XIV'.  Another. 

Take  six  ounces  of  our  general  matter,  two  of  prepared  mag- 
nesia, and  forty-eight  grains  of  the  aforesaid  preparation  of 
scones  of  copper.  Pulverise,  and  proceed  as  above.  This 
composition  will  give  a very  fine  purple  enamel,  fit  for  all  sorts 
of  works  which  goldsmiths  will  employ  it  in. 

XV.  A yellow-  enamel 

Take,  and  reduce  into  a very  fi  ne  powder,  six  pounds  of  the 
feneral  matter  ; three  ounces  of  tartar,  and  seventy-two  grains 
of  prepared  magnesia.  Put  all  into  a pot  large  enough  not  to 
lose  any  thing  of  the  matter  when  it  comes  to  swell  at  the  time 
of  its  fusion,. 

XVI.  To  make  a chryst  aline  matter , which  serves  as  a ba- 
sis to  red-colour  enamels . 

1.  Take  twenty. four  pounds  of  salt,  drawn  from  trituration. 


48 


SECRETS  IN  ARTS,  TRADES,  &c. 


lotion,  filteration,  and  evaporation  ; and  sixteen  pounds  of 
white  tartar,  that  is  to  say,  of  white  and  transparent  river  peb- 
bles, calcined  and  reduced  into  an  impalpable  powder.  Both 
these  ingredients  being  equally  reduced  into  a subtile  powder, 
mix  and  wet  them  so  as  to  make  a hard  paste  of  them,  of 
which  you  will  form  small  thin  cakes.  Put  these  cakes  in 
pipkins,  and  place  them  in  a lime,  or  potter’s  kiln,  where  they 
are  to  calcine  for  ten  hours. 

5.  When  these  cakes  are  well  calcined,  reduce  them  into  a 
subtile  powder,  add  four  pounds  of  lead  and  pewter  cajx  (pre- 
pared and  subtilized  as  before  directed,  Art.  vi.)  and  as  much 
white  tartar  also  calcined  and  purified  by  lotion,  & c.  These 

three  last  ingredients  being  reduced  into  a subtile  powder,  put 
them  in  a varnished  pipkin,  and  place  them  in  a melting  glass 
furnace,  there  to  be  melted  and  purified,  by  throwing  the 
composition,  when  in  fusion,  into  water,  then  drying,  &c.  three 
times ; after  which  the  whole  is  completed. 

XVII.  How  to  make  a fine  firefiaratixm  of  fusible  magne- 
sia, to  be  employed  in  the  making  of  red  enamels . 

3.  Take  whatever  quantity  of  magnesi  a you  please.  Add 
to  it  an  equal  quantity  of  nitre  prepared  by  lotion,  filteration, 
and  evaporation.  Set  this  matter  in  a pipkin  to  calcine  for 
twenty -four  hours,  by  reverberating  fire.  Then  take  it  out, 
and  wash  it  with  warm  water,  to  cleanse  it  from  all  the  nitre, 
and  dry  it.  When  this  magnesia  be  dry,  it  will  be  of  a very 
line  red. 

2.  Now  add  to  it  its  equal  weight  of  armoniac  salt,  Grind 
all  well  on  a marble  stone,  wetting  it  with  distilled  vinegar,  so 
that  it  comes  into  a sort  of  clear  paste,  or  colour  for  painting. 

S.  Then  dry  this  matter  ; and,  having  pulverised  it,  put  it 
a subliming  in  a strong  glass  matrass,  with  a long  neck  and  a 
large  belly.  Give  it  the  sublimating  fire  for  twelve  hours  ; 
break  the  matrass  ; weigh  first  the  sublimed  part,  and  mix  it 
with  what  remained  at  the  bottom  ; add  as  much  new  ammo- 
niac salt  as  you  had  weight  of  sublimation.  Grind  these  well 
together,  wetting  them  with  vinegar,  then  dry  and  sublime 
again  as  before.  Renew  this  operation  so  many  times  as  will 
be  requisite,  that  the  magnesia  remain  at  last  in  a state  of  fusi- 
bility at  the  bottom  of  the  matrass. 

4.  This  liquid  is  fit  for  staining  crystal  of  a very  fine  ruby 
hue  ; and,  when  employed  with  enamels,  will  render  them  of' 
a most  beautiful  red. 


SECRETS  IN  ARTS,  TRADES,  &c.  49 

XVIII.  To  make  red  enamel , o/*a  beautiful  ruby  hue . 

Put  twenty  ounces  of  the  above  fusible  magnesia,  to  one 
pound  of  the  crystaline  matter  (Art.  li.)  in  good  fusion.  Puri- 
fy the  whole  well,  and  try  the  colour. 

Note.  According  to  the  proportion  of  fusible  magnesia  you 
put  in  this  composition,  you  raise  or  lower  the  hue  of  your  ena- 
mel. And,  if  carried  to  the  degree  of  rubies,  it  will  prove 
bright  and  beautiful. 

XIX.  To  make  an  enamel , true  BdXd!§-ruby  colour. 

Take  ten  pounds  of  our  crystaline  matter.  Purge  it  in  the 
melting  glass  furnace,  by  fusing  it,  then  throwing  it  in  water, 
drying,  pulverising  and  melting  again,  Sc c.  three  times.  Put 
it  again  for  the  fourth  time  in  fusion  ; and,  when  in  that  state, 
give  it  the  purple  colour  by  means  of  a proper  quantity  of  fu- 
sible magnesia,  as  mentioned  in  the  preceding  article.  After 
this  project  on  it,  at  eight  different  distances  of  time,  as  much 
calcined  alum,  in  subtile  powder,  as  you  will  find  requisite  to 
give  it  that  degree  of  red  hue  yGU  desire  ; which  to  imitate  the 
Balais  ruby  colour,  must  be  fuller  and  deeper  than  that  of  the 
dear  rubies. 

XX.  To  make  a bright  enamel , escarhoucle  colour . 

1.  Take  very  fine  gold,  one  part.  Purify  it  again,  and  open 
it  in  the  following  manner.  Dissolve  it  in  good  regal  water  ; 
distil  it  first  from  the  gold,  and  recohobate  it  six  different 
times.  After  this,  take  your  gold  powder  from  the  vessel,  put 
it  in  a crucible,  covered  and  luted  as  usual,  and  place  it  in  a 
furnace  to  the  reverberating  fire,  where  it  shall  be  left  to  cal- 
cine till  it  becomes  a very  high  and  deep  red,  which  cannot 
happen  till  after  several  days  calcination. 

2.  Then,  by  projecting  this  part  of  well  opened  gold  on 
twenty  of  the  beforementioned  crystaline  matter,  previously 
purged  according  to  direction,  and  put  in  a state  of  good  fu- 
sion, an  enamel  will  be  obtained,  of  the  most  beautiful,  trans- 
parent, escarboucle  colour. 

XXL  To  make  transparent  Jrarnes . 

Boil  for  a quarter  of  an  hour  only,  nut  oil,  six  ounces  ; white 
wax,  four;  rosin,  as  much;  and  Venice  turpentine,  two.— 
When  lukewarm,  lay  it  on  with  a soft  brush. 


59  SECRETS  IN  ARTS,  TRADES,  kc. 

XXII.  To  make  a frame  look  as  if  made  of  glass. 

Take  one  of  the  finest  and  most  perfect  sheets  of  vellum 
you  can  find.  Wash  it,  paste  it  on  the  frame,  and  let  it  dry. 
Then  boil  in  a glass  vessel,  over  a sand  bath,  equal  quantities 
of  nut  or  lintseed  oil,  and  water,  with  a little  crown  glass, 
pounded  into  a very  fine  powder.  With  this  you  may  at  any 
time  give  a coat  to  your  velium,  and  see  the  pleasing  effect  it 
will  have.. 

XXIII.  A white  paint  to  preserve  the  putty  round  the 
panes  of  glass. 

1 Grind  white  lead  with  water.  Dry  it,  and  grind  it  again 
with  oil,  then  lay  a coat  of  it  over  your  putty.  But  if  you 
want  it  to  be  still  more  durable,  put  two  coats  of  it,  after  having 
added  a part  of  fetid  oil,  made  in  the  following  manner. 

2.  Have  a leaden  plate  with  turned  up  edges  to  make  a bor- 
der. Fill  it  with  nut  or  lintseed  oil.  Cover  it  with  a piece  of 
glass,  and  expose  it  in  the  sun.  It  will  soon  be  foetid. 

XXIV.  To  clear  glass. 

Rub  the  glass  crystal  with  a piece  of  lead  j that  will  make 
it  clear  and  bright. 

XXV.  How  to  distinguish  a true  form*  of  a false  stone. 

Warm  an  iron  plate";  rub  some  oil  over  it ; spread  glass  dust 
on  the  middle,  and  cover  that  glass  with  kindled  coals.  Hold 
the  stone  you  want  to  try  over  these  coals,  without  letting  it 
touch  them.  If  the  stone  does  not  lose  its  lustre,  and  look 
dull,  it  is  a true  stone. 


CHAP.  VI 


Secrets  concerning  Colours  and  Painting. 


§ I.  TO  PAINT  IN  VARNIsa  ON  WOOD.  USEFUL  TO  CAR- 
RIAGE PAINTERS. 

I.  The  preparations  previous  to  the  laying  of  colour and 
the  general  process  observed  in  laying  them  on  it. 

1.  X7"OU  must  first  lay  on  the  wood  two  coats  of  Troyesh 
1 white,  diluted  with  size- water.  Next  lay  over  these  a 
third  coat  of  ceruse.  Then  mix  the  colour  you  want  with 
turpentine  oil,  add  the  varnish  to  it,  and  lay  it  on  the  wood* 
previously*prepared  as  follows. 

2.  Polish  the  wood,  first  with  shave-grass  or  horse  tail,  and 
then  with  pounce  stone.  Lay  afterwards  six  or  seven  coats  of 
colour  mixed  with  varnish,  allowing  after  each  coat  a sufficient 
time  to  try,  before  laying  on  the  next ; then  polish  over  the 
last  coat  with  pounce  stone,  grinded  on  marble,  into  a subfile 
powder.  When  this  is  done,  lay  two  or  three  coats  of  pure 
white  varnish.  As  soon  as  this  is  dry,  rub  it  over  with  a soft 
rag,  dipped  into  fine  olive  oil,  then  rub  it  with  tripoly  reduced 
into  subtile  powder,  and  having  wiped  with  a clean  piece  of 
linen,  pass  a piece  of  wash  leather  all  over  it. 

II.  To  make  a black . 

1 . The  black  is  made  with  lamp  or  ivory  black,  grinded  on 
a marble  stone,  with  vinegar  and  water,  till  it  is  reduced  into 
the  most  impalpable  powder.  Keep  it  in  a bladder. 

2.  There  is  a sort  of  black  which,  from  its  hue,  may  be 
termed  a velvet  black.  This  is  made  of  sheep  trotter  bones* 
burnt  and  reduced  by  grinding,  like  the  other  black,  into  an 
impalpable  powder.  Keep  it  the  same  as  the  other. 

III.  To  make  a blue. 

Burnt  turnsol  mixed  with  quick  lime  and  water,  then  sized 
with  leather  size,  makes  the  blue. 

( 


52  SECRETS  IX  ARTS,  TRADES,  kc. 

TV.  To  make  the  Gridelin . 

Grind  cochineal  with  whitelead  and  a little  Venetian  lake. 
According  as  you  put  more  or  less  of  this  last  ingredient,  you 
make  it  darker  or  clearer. 

§ II.  TO  PAINT  ON  PAPER 

V.  Tor  the  red. 

To  make  a red,  take  flat,  or  Venetian  lake  and  Brazil  woe d* 
and  boil  all  together,  with  an  addition  of  black  lead. 

VI.  To  make  a fine  yelhw. 

You  must  boil  some  kermes  in  water  impregnated  with  or- 
pine. 

VII.  To  make  a green. 

A mixture  of  verdigrease,  sap  green,  Hungarian  green,  and 
tervette.  The  whole  grinded  on  marble  with  a pretty  strong 
leather  size. 

VIII.  To  transfer  a print  on  vellum , and  then  paint  it. 

Chuse  your  print,  and  fit  a sheet  of  transparent,  or  varnished 
paper  to  it,  for  width  and  breadth.  Lay  it  on  the  print,  and 
fix  it  by  the  four  corners  and  the  middle  part  ot‘  the  four 
edges,  on  that  print,  by  means  of  a little  white  wax,  the  bulk 
of  a pin's  head.  Then  with  a fine  lead  pencil,  sketch  out  on 
the  varnished  paper,  all  the  outlines  and  turns  of  the  print, 
which  you  plainly  see  through.  When  done,  rub  the  back  of 
this  varnished  paper  all  over  with  red  chalk,  and  carrying  it  on 
the  vellum,  fix  it  on  it,  as  you  did  on  the  print.  Then  with 
a wooden  or  ivory  blunt  point,  pass  over  all  the  strokes  which 
are  delineated  on  the  varnished  paper,  the  red  chalk  of  the 
back  will  set  off  in  all  those  parts,  and  lie  on  the  vellum,  where- 
on you  will  find  the  print  perfectly  sketched,  and  fit  to  re- 
ceive what  colours  you  like. 

§ III.  COMPOSITIONS  FOR  LIMNERS. 

IX.  How  to  pirepare  colours  for  limning. 

Most  colours  are  prepared,  are  grinded  with  gum-arabic.— 
Ochre  makes  the  yellow ; courant  mouremt , the  white  \ ver- 


SECRETS  IK  ARTS,.  TRADES,  &c. 


:5o 

digrease,  the  green  ; ceruse,  the  grey  ; lampblack?  the  black  • 
cinnabar?  the  red  ; and  gold  in  shell,  the  gold. 

X.  To  make  %vhatis  called  lampblack. 

Put  a large  wick  of  cotton  in  a lamp,  filled  with  nut  oil,  and 
light  it.  Prop  over  the  flame  an  earthen  dish,  and  now  and 
then  visit  this  dish,  and  gather  all  the  black  which  fixed  itself 
to  it. 

XL  Another  way  of  making  black. 

Burn  some  nut-shells  in  an  iron  pan,  and  throw  them  in  ano- 
ther full  of  water.  Then  grind  them  on  marble  with  either  oil 
or  varnish. 

XII.  To  make  a blue . 

Whitening  grinded  with  verdigrease  will  make  a very  fine 
blue. 

XIII.  To  make  a turquin  blue. 

German  turnsol  infused  for  one  night  in  chamber- lye,  then 
grinded  with  a discretionable  quantity  of  quick-lime,  in  pro® 
portion  as  you  want  to  have  it  paler  or  darker. 

XIV.  A fine  green  for  limning „ 

Grind  some  verdigrease,  with  vinegar,  and  a very  small  quanti- 
ty of  tartar;  then  add  a little  quicklime  and  sap-green,  which 
grind  with  the  rest,  and  put  in  shells  for  keeping.  If  it  become 
too  hard,  dilute  it  with  a drop  of  vinegar. 

XV.  Another  for  the  same  purpose. 

Grind  on  marble  stone,  verdigrease,  and  a third  £o  tartar 
with  white  wine  vinegar. 

XVI.  To  make  Sap-green,  or  blackbery  green . 

Express  the  blackbery  juice,  when  full  ripe.  Add  some  alum 
to  it,  put  all  in  a bladder,  and  hang  it  in  a chimney  to  dry. 


XVII.  To  make  lake. 


54 


SECRETS  IN  ARTS,  TRADES,  &c. 


water ; one  drachm  and  a half  of  roch  alum;  eighteen  grains  ot 
salt  of  tartar;  the  bulk  of  two  filberts  of  mineral  crystal;  three 
quarters  of  a pound  of  the  whitest  sound,  or  cuttle-fish  bones, 
rasped.  Put  all  together  in  a saucepan  to  boil,  till  reduced  to 
one  third.  Strain  it  three  times  through  a coarse  cloth.  To 
make  a finer  sort,  strain  it  four  times.  Then  set  it  in  the  sun 
under  cover  to  dry.  That  which  dries  the  soonest  is  the  finest. 

XVIII.  To  make  a liquid  lake . 

Found  some  cochineal  and  alum  together;  then  boil  them 
with  a quantity  of  lemon-peels,  cut  very  small.  And  when  it 
-is  come  to  the  right  colour  you  want,  pass  it  through  a cloth. 

XIX.  Another  way . 

On  a quantity  of  alum  and  cochineal  pounded  and  boiled  to- 
gether, pour  drop  by  drop  oil  of  tartar  till  it  comes  to  a fine  co- 
lour, 

XX.  For  the  vermilion . 

Vermillion  becomes  very  fine  in  aquavita,  or  in  child’s  urine, 
But  it  will  be  still  finer,  if  you  put  in  aquavit a with  a little 
saffron.  It  is  used  with  whipped  whites  of  eggs. 

XXI.  For  the  making  of  carmine. 

3.  Boil  two  quarts  of  spring  water  in  a varnished  pipkin, 
and  when  it  boils  throw  in  seven  pugils  of  pulverised  chouam. 
After  this  has  thrown  two  or  three  bubbles,  take  it  off  the  fire 
and  decant  it  in  another  clean  pipkin.  Then  put  in  this  watei 
five  ounces  of  cochineal  in  powder,  and  boil  it  for  a quarter  o: 
an  hour.  Add  three  pugils  of  autour,  in  fine  powder,  anc 
make  it  throw  four  bubbles.  Then  add  three  pugils  of  Romar 
alum  in  powder,  and  take  it  out  directly  from  the  fire,  whici 
must  be  made  of  live  coals. 

2.  Strain  all  through  a linen  cloth,  and  divide  this  liquor  in 
to  several  delph  vessels,  and  so  let  it  remain  for  three  weeks.— 
At  the  end  of  that  term,  pour  off  the  water  by  inclination.  Yoi 
will  find  under  a kind  of  mouldiness,  which  you  must  careful!; 
pick  off,  and  then  gather  the  carmine. 

Note.  Every  five  ounces  of  cochineal  give  one  of  carmine.— 
It  is  to  be  grinded  on  marble.  A general  opinion  prevails 
that  this  operation  is  best  done  in  the  crescent  of  the  moon  — 
How  far  it  is  needful  to  observe  this  precept,  is  left  to  the  wis* 
to  determine. 


SECRETS  IN  ARTS*  TRADES,  55 

XXII.  Colours  Jit  for  expressing  the  various  com- 
plexions. 

1.  For  women  and  children,  mix  a little  white  and  a little 
tunrsol. 

2.  For  men,  a mixture  of  white  and  Vermillion  is  proper. 

3.  For  old  folks,  you  must  use  some  white  and  ochre. 

4.  For  horses,  you  must  chuse  bistre,  ochre  and  white.  The 
dark  brown  horses  require  a little  addition  of  black.  The 
gray  want  nothing  but  bistre  and  white. 

§ IV.  TO  MAKE  TRANSPARENT  COLOURS, 

XXIII.  For  the  green . 

Putin  very  strong  vinegar,  verdigrease,  rue-juice,  and  gum 
arabic.  Set  this  in  the  sun  for  a fortnight,  or,  if  you  have  no 
sun,  boil  it  on  the  fire.  Strain  it,  bottle  and  stop  it.  Shake  it 
well  before  using. 

XXIV.  For  the  red . 

Make  a lye  with  salt  of  tartar.  In  it,  put  to  infuse  for  one 
night,  some  India  wood,  with  a little  alum.  Boil  all,  and  re- 
duce to  one  third.  Run  it  through  a linen  cloth,  and  mix  some 
gum-arabic  with  it.  With  more  or  less  alum,  you  make  it  of 
a higher  or  paler  hue. 

XXV.  For  the  yellow. 

Bruise  Avignon  seed,  called  French  Berries,  and  put  it  in  a 
lye  of  salt  and  tartar  to  boil  on  the  hre,  to  the  reduction  of 
two  thirds.  Run  it,  and  boil  it  one  bubble  more.  Then  bot- 
tle and  cork  it.  It  must  be  shaken  before  using.  A small  ad- 
dition of  saffron  renders  it  more  lively. 

XXVI.  For  the  blue . 

Soak  in  chamber-lye,  one  night,  a quantity  of  German  Palma 
Christt . Take  it  out  and  grind  it  with  a little  quick  lime.— 
More  or  less  quick  lime  Will  raise  or  lower  it  in  hue.  And 
nothing  more  is  required  to  dilute  it  than  chamber-lye  and  gum 
arabic. 

XXVII.  Another  blue , very  like  ultramarine . 

Grind  some  indigo  on  porphyry  with  turpentine  oil.  PaiI  it 


56  SECRETS  IN  ARTS,  TRADES,  &c. 

afterwards  in  a glazed  pipkin,  and  lute  it  well.  Let  is  thus  lay 
for  the  space  of  six  weeks.  The  longer  you  leave  it,  the  more 
blue  it  will  be. 

XXVIII.  A pale  red  to  paint  on  enamel. 

1.  Take  the -filings  of  a piece  of  good  iron.,  Put  them  in  a 
matrass  with  aquafortis,  and  set  it  on  a slow  fire.  Let  it  boil 
gently  till  the  filings  are  all  dissolved. 

2.  When  this  is  done,  pour  a little  warm  water  into  the  ma- 
trass, and  let  it  remain  a few  hours  on  the  fire,  then  pour  all 
into  another  vessel.  When  the  liquor  shall  be  quite  dear,  de- 
cant it  out  gently,  and  leave  the  powder,  which  is  at  the  bot- 
tom, to  dry. 

3.  Put  this  dried  powder  in  a new  crucible  well  covered  and 
luted,  then  neal  it  gently  on  a very  regular  fire,  and  a little 
while  after,  take  it  out  and  let  it  cool. 

4.  Now  one  drachm  of  that  powder,  and  three  of  yellow 
Dutch  beads  ground  with  mastich-oil,  will  give  full  satisfaction, 

XXIX.  Process  of  making  purple,  for  painting  an 
enamel 

1.  Take  one  drachm  of  very  fine  gold,  forged  weak.  Cut 
in  small  bits,  and  neal  it.  Put  that  gold  into  a matrass,  with 
one  ounce  of  ammoniac  salt,  and  two  of  good  aquafortis,  and 
set  i t on  a gentle  fire  to  run  all  into  liquor. 

2.  Have  two  ounces  of  clear  water,  near  boiling,  and  throw 
it  in  the  matrass.  This  done,  pour  the  whole  in  a glass  phial 
of  more  than  a quart  size,  to  which  add  one  ounce  and  a half 
of  oil  of  tartar  drop  by  drop.  It  will  occasion  an  ebullition, 
which  being  ceased,  you  must  fill  the  bottle  with  water,  and 
let  it  rest  Till  the  gold  falls  to  the  bottom. 

3.  When  the  water  is  quite  clear,  decant  it  out  gently,  for 
fear  of  disturbing  the  gold  and  losing  it.  Then  fill  the  bottle 
with  new  water,  repeating  this  operation  till  the  water  is  as 
dear  when  you  decant  it  out,  as  when  you  put  it  in,  and  has  no 
more  smell. 

4.  Take  your  gold  out  of  the  bottle,  and  put  it  on  a fine 
brown  paper,  folded  in  four  or  five  doubles,  and  turned  up  by 
the  edges,  in  form  of  a little  case  or  mould.  There  let  itdry, 
and  when  dry,  keep  it  for  use. 

5.  Grind,  next,  some  fine  white  frost  glass  ; mix  it  with  wa- 
ter, put  it  in  a bottle,  and  shake  it,  then  let  it  settle.  When  this 
powder  is  fallen  to  the  bottom,  decant  off  the  water,  and  let 
the  powder  dry  in  the  vessel. 

6.  The  proportion  to  make  the  pimple  colour.  Take  three 


57 


SECRETS  IN  ARTS,  TRADES,  &c. 

grains  only  of  your  aforesaid  gold  dust  to  thirty  of  the  white 
frost-glass,  thus  prepared.  Mix  both  in  a calcedony  mortar 
with  clear  water.  After  the  powder  has  settled  to  the  bottom 
of  the  mortar,  decant  out  the  water,  and  let  the  powder  dry  in 
the  mortar. 

7.  This  done,  take  the  powder  out  of  the  mortar,  and  put- 
ting  it  on  a white  bit  of  paper,  dry  it  by  a slow  fire,  till  you  see 
it  has  acquired  a fine  purple  hue. 

8.  Grind,  now,  this  powder  with  a little  oil  of  spike*  and 
put  it  in  little  cases  made  with  cards,  of  which  the  edges  are 
turned  up.  When  the  card  has  soaked  the  oil,  the  whole  ope- 
ration is  accomplished.  Preserve  it,  by  putting  it  in  small  box- 
es, in  a dry  place. 

XXX.  How  to  make  a fine  fie  sh  colour, 

9.  The  mere  addition  of  a little  black  to  the  above  compo- 
sition will  make  the  finest  colour  for  complexions,  or  flesh -co- 
lour, and  may  justly  be  deemed  a ninth  article  in  the  process 
which  is  to  be  observed  in  its  fabrication, 

XXXI.  A good  way  to  make  carmine . 

Make  a little  bag,  tied  very  close,  of  fine  Venetian  lake. 
Put  it  in  alittle  varnished  pipkin,  with  rain-water  and  cream 
of  tartar,  and  boil  it  to  a sirrup.  Thus  you  will  have  a fine 
carmine  colour*. 

XXXII.  For  an  amber  colour „ 

To  much  yellow,  add  equal  quantities  of:  each  red  and 
white. 

XXXIII.  The  whole  process  of  making  ultramarine . 

1.  Make  some  of  the  brownest  lapis  red  hot  in  a crucible 
then  throw  it  into  vinegar.  Repeat  this  three  times.  When 
calcined,  pound  it  in  a mortar,  and  sift  it.  Then  grind  it  on 
porphyry,  with  a mixture  of  lintseed  oil  and  spirit  of  wine,  in 
equal  quantities,  and  previously  digested  together  in  a matrass, 
and  often  shaken  to  prepare  them  for  this  use.  When  you  shall 
have  subtilized  your  lapis  powder,  then  incorporate  it  with  the 
following  cement. 

2.  Lintseed  oil,  two  ounces  ; Venice  turpentine,  three  j 
mastich,  half  a one ; assa  fsetida,  two  ; black  rosin,  as  much  ; 
wax,  half  an  ounce  ; yellow  rosin,  three.  Boil  all  in  a glazed 
pipkin,  for  a quarter  of  an  hour ; then  run  it  through  a cloth 

F 2 


58 


SECRETS  IN  ARTS,  TRADES,  &c. 


into  clear  water.  Take  it  out  of  that  water  ; and,  taking  of 
this,  and  of  the  grinded  lapis,  equal  quantities,  incorporate  them 
in  a glazed  pan,  and  pour  some  clean  warm  water  over,  and  let 
it  rest  for  a quarter  of  an  hour.  Stir  this  water  with  a wooden 
spatula  ; and  in  another  quarter  of  an  hour  you  will  see  the 
water  all  azured.  Decant  gently,  that  water  into  another  gla- 
zed pan.  Pour  new  warm  water  on  the  grounds,  and  proceed 
as  before,  continuing  to  stir  and  beat  it  well ; then  decant  again 
this  new  azured  water  with  the  former.  Repeat  doing  so,  till 
the  water  is  no  more  tainted  with  any  azurine  particles.  When 
done,  set  your  azured  waters  in  evaporation,  and  there  will  re- 
main at  the  bottom  a very  fine  Azure  of  Ultramarine,  viz.  four 
ounces  of  it  for  every  one  pound  of  composition.  Of  the  re- 
mainder you  make  what  is  called  bender.  blue. 

XXXIV.  Another  very  fine  ultramarine . 

Take  the  finest  lapis  lazuli  you  can  find;  break  it  in  little 
bits,  and  make  it  red  hot  in  a crucible,  between  blasting  coals. 
When  red  hot,  throw  it  in  white  wine  vinegar  ; then  dry  it  and 
pound  it  in  a marble  mortar  with  a wooden  pestle.  Should  it 
not  pound  easily,  calcine  it  again  as  before,  and  throw  it  again 
in  vinegar,  See.  then  try  it  in  the  mortar,  and  if  it  do  not  pound 
yet,  repeat  again  the  same  process,  till  it  easily  submits  to  be 
pulverised.  After  it  has  been  put  into  a fine  powder,  grind  it 
>n  a porphyry  stone,  with  good  aquavitas,  till  it  is  impalpable! 
Then  gather  it  up  in  little  cakes,  which  set  a drying  on  paper 
of  slates.  When  dry,  if  you  pulverise  it,  you  have  a fine  ultra- 
marine. 

XXXV.  A secret  to  compose  a Jine  blue , fibr  washing,  in 

drawings , instead  of  ultramarine , which  is  too  dear  and 

too  strong  to  be  used for  that  purpose. 

1 Gather  in  the  summer,  a large  quantity  of  biowart,  which 
grows  in  the  fields*  among  the  corn.  Pick  well  their  blue  leaves 
off.  Have  lukewarm  water  impregnated  with  impalpable  pow- 
der of  alum.  Put  the  picked  blue  leaves  into  a marble  mortar, 
with  a sufficient  quantity  of  that  alum  water,  to  soak  them  on- 
ly. Then,  with  either  a wooden  or  marble  pestle,  pound  them, 
till  the  whole  is  so  mashed,  as  to , give  the  juice  by  expression 
through,  a new  cloth.  Then  strain  it  oyer  a glass  bowl,  in  which 
there  is  water  impregnated  with  the.  whitest  gum-arabic  you 
can  find. 

2.  Observe  that  you  must  not  put  much  alum  in  the  first  wa- 
ter, if  you  are  desirous  of  preserving  the  brightness  of  the  co- 
lour ; for  by  putting  too  much  of  that  ingredient,  as  well  as 


SECRETS  IN  A RTS,  TRADES,  &c.  59 

for  the  water  impregnated  with  it,  you  darken  the  tone  of  the 
colour. 

3.  Note . By  means  of  the  same  process,  you  may  likewise 
draw  the  colours  from  every  flower  which  has  any  great  eclat. 
You  must  not  neglect  to  pound  them  with  alum  water,  which 
prevents  the  colour  from  suffering  any  alteration ; as  it  sometimes 
happens  at  the  very  first  bruise. 

4.  To  render  the^e  colours  portable,  set  them  a-drying  in 
the  shade,  in  glass  vessels,  well  covered,  to  fence  them  against 
the  dust. 

XXXVI.  The  true  secrets  of  making  iris-green. 

1 Take  a lage  quantity  of  the  flowers  of  that  name  in  the 
spring.  Pick  them;  that  is  to  say,  pick  out  the  green  and  the 
yellow,  which  are  at  the  bottom  of  the  petal  of  the  flower. 
Next  to  this,  'pound  them  in  a marble  mortar,  with  a little 
lukewarm  water,  impregnated  with  alum.  When  pounded, 
express  the  juice  through  a new  cloth,  over  a china  bowl. 
Then  mix  some  gum-arabic  water  with  it. 

2.  If  you  want  a tone  of  colour  different  from  the  natural 
colour  of  the  flower,  you  may  change  it  by  only  adding,  after 
the  flowers  are  pounded,  a little  quicklime  dust  in  the  mortar, 
aud  give  two  or  three  strokes  of  a pestle  more  to  the  whole ; 
then  strain  it. 

3 Note . If  you  should  pound  these  flowers  in  a wooden 
mortar,  you  must  be  cautioned  at  least  to  take  care  it  should 
not  be  one  of  walnut  tree  wood,  because  it  is  apt  to  tarnish  the 
colours,  and  destroy  their  brightness,  which  is  one  of  the  chief 
things  always  required  in  colours. 

4.  In  the  month  pf  March,  you  may  by  means  of  the  same 
process,  obtain  the  colour  from  garden,  or  double  violets.  But 
this  is  never  so  fine  nor  so  lively. 

XXXVII.  To  make  a dark  green,  for  miniature  pictures , 
washing  on  paper , an  draperies  and  terraces. 

Take,  towards  the  end  of  autumn,  a good  quantity  of  wall- 
wort  stalks,  with  their  fruits  on  them,  and  very  ripe.  Let  them 
rot  for  five  or  six  days  in  the  cellar ; and  when  yon  see  the 
fruits  have  fomented  sufficiently  to  give  easily  their  juice  by 
expression,  strain  it  through  a new  cloth  in  alum  water.  Divide 
the  whole  into  several  glass  tumblers,  to  dry  it  more  easily. 
Set  them  in  the  air,  but  not  in  the  sun;  and  lay  some  paper  over 
them,  to  prevent  any  thing  from  falling  into  the  glasses,  but 
which  should  not  at  the  same  time  stop  the  exhalation  of  the 
liquor,  and  thereby  cause  it  to  become  mouldy.  By  these  means, 
you  shall  have  a colour  lit  for  the  wash  of  a green  hue;  and 
dark  at  the  same  time. 


60 


SECRETS  IN  ARTS,  TRADES,  &<5. 
XXXVIII.  To  make  the  Bistre  for  the  wash. 


1 Grind  on  marble,  with  child’s  water,  some  chimney-soot 
Mullar  it  as  fine  as  possible.  When  done,  put  it  in  a wide-mouth 
ed  bottle,  which  fill  up  with  clear  water;  and  then,  stir  anc 
mix  all  well  with  a wooden  spatula.  Let  the  coarsest  part  set- 
tle to  the  bottom  of  the  vessel.  Decant  out  the  liquor  gently 
into  another  vessel  What  remains  in  the  bottom  is  the  coar* 
sest  bistre. 

2.  Proceed  the  same  with  respect  to  the  second  bottle,  and 
after  having  left  this  to  settle  for  three  or  four  days,  instead  of 
half  an  hour,  decant  it  into  a third.  This  gives  you  the  finest 
bistre. 

S.  In  the  manipulation  of  all  the  colours  which  are  intended 
to  serve  in  drawing  for  wash,  whenever  you  will  not  have  them 
rise  thick  above  the  surface  of  the  paper,  which  would  un- 
doubtedly look  very  bad ; for  the  neatness  required  in  a draught, 
forbids  the  use  of  any  coarse  colour. 

XXXIX.  The  secret  for  afne  red  for  the  wash. 

1.  Make  a subtile  powder  with  cochineal.  Put  it  in  a ves- 
sel, and  pour  rose-water  over  it  as  will  exceed  above  it  by 
two  fingers. 

2.  Dilute  calcined  and  pulverised  alum,  while  it  is  quite 
warm,  into  plantain  water,  and  mix  some  of  the  liquor  in  which 
you  have  dissolved  the  cochineal. 

3.  This  process  will  give  you  a very  fine  red,  much  prefer  ~ 
able  for  the  wash,  to  that  which  is  made  with  vermilion,  be- 
cause this  last  has  too  much  consistence,  and  besides  tarnishes 
tod  soon,  on  account  of  the  mercury  which  enters  into  its  com- 
position. 

XL.  A secret  to  make  carmine  at  a small  expence . 

Break  and  bruise  in  a bell-metal  mortar,  half  apound  of  gold 
colour  Fernamboroug  Brasil.  Put  this  to  infuse  with  distilled 
vinegar,  in  a glazed  pipkin,  in  which  boil  it  for  the  space  of  a 
quarter  of  an  hour.  Strain  the  liquor  through  a new  strong 
cloth;  then  set  it  again  on  the  fire  to  boil.  When  it  boils,  pour 
on  it  white  wine  vinegar,  impregnated  with  roman  alum.  Stir 
well  with  a wooden  spatula,  and  the  froth  that  will  arise  is  the 
carmine.  Skim  it  carefully  in  a glass  vessel,  and  set  it  to  dry. 


SECRETS  IK  ARTS,  TRADES,  &c.  fit 

f V.  COMPOSITION  OF  COLOURS,  TO  BYE  SKINS  OR 
GLOVES. 

XL  I . A liv  ely  Isa  beh 

To  make  a lively  Isabel  colour,  you  must,  to  a quantity  of 
white,  add  one  half  of  yellow,  and  two-thirds  of  red  and  yellow* 

XLXI.  For  a pale  filbert  colour . 

1.  Take  burnt  umber,  a little  yellow,  very  little  white,  arid 
still  less  read. 

S'.  This  is  made  darker,  by  adding  a quantity  of  burnt  um- 
ber, as  much  yellow,  a little  white,  and  as  much  red. 

XLIIL  For  the  gold  colour . 

To  much  yellow,  join  a little  more  red;  and  this  mixture 
will  give  you  a very  fine  bright  gold  colour. 

XLIV.  For  the  fiesh  colour . 

To  imitate  well  the  complexion,  or  flesh  colour,  you  mix  a 
little  white  and  yellow  together,  then  add  a little  more  red  than 
yellow. 

XLV.  The  straw  colour . 

Much  yellow;  very  little  white;  as  little  red,  and  a great 
deal  of  gum, 

XL  VI.  A fine  brown . 

!•  Burnt  umber;  much  black  chalk;  a little  black,  and  a lit- 
tle red ; will  make  a fine  brown,  when  well  incorporated  togeth- 
er 

2.  The  same  is  made  paler,  by  decreasing  the  quantity  of 
black  chalk,  and  no  black  at  all  in  the  above  composition. 

XL  VI I.  To  make  a fine  musk  colour . 

Take  burnt  umber;  very  little  black  chalk;  little  red  and  a 
little  white.  Thqse  ingredients  well  mixed  w ill  produce  a$ 
fine  a musk  colour  as  ever  was. 


62  SECRETS  IN  ARTS,  TRADES,  &c. 

XLVIII.  To  make  a frangipane  colour. 

1.  This  is  made  with  a little  umber;  twice  as  much  red, 
and  three  times  as  much  yellow. 

2.  The  paler  hue  of  it  is  obtained  by  adding  only  some 
white,  and  making  the  quantity  of  red  equal  to  that  of  yellow* 

XL1X.  Jin  olive  colour . 

To  make  the  olive  colour,  take  umber,  not  burnt;  a little 
yellow;  and  the  quarter  part  of  it  of  red  and  yellow. 

L.  How  to  make  skins  and  gloves  take  these  dyes . 

Grind  the  colours  you  have  pitched  upon  with  perfumed 
oil  of  jessamine,  or  orange  flowers.  Then  range  the  grinded 
colour  on  a corner  of  the  marble  stone.  Grind  of  gum-adra- 
gant,  an  equal  quantity  as  that  of  the  colours,  soaking  it  all 
the  while  with  orange  flower  water.  Then  grind  both  the  gum 
and  the  colour  together,  in  order  to  incorporate  them  well. 
Put  all  into  a pan,  and  pour  a discretionable  quantity  of  water 
over  it,  to  dilute  irufiiciently  your  paste.  Then  with  a brush, 
rub  your  gloves  or  skins  over  with  this  tinged  liquor,  and  hang 
them  in  the  air  to  dry.  When  dry,  rub  them  with  a stick. 
Give  them  again,  with  the  same  brush,  another  similar  coat  of 
the  same  dye,  and  hang  them  again  to  dry.  When  dry  for 
this  second  time,  you  may  dress  them,  the  colour  is  sufficient- 
ly fixed,  and  there  is  no  fear  of  its  ever  coming  off. 

LI.  To  varnish  a chimney . 

Blacken  it  first  with  black  and  size.  When  this  coat  is  dry, 
lay  another  of  white  lead  over  it,  diluted  in  mere  sized  water. 
This  being  dry  also,  have  verdigrese  diluted  and  grinded  with 
oil  of  nuts  and  a coarse  varnish,  and  pass  another  coat  of  this 
over  the  white. 

§ VI.  TO  COLOUR,  OR  VARNISH  COPPERPLATE  PRINTS. 

LI  I.  To  varnish  capper  plate  prints . 

1.  Have  a frame  made  precisely  to  the  size  of  your  print. 
Fix  it  with  common  flour  paste,  by  the  white  margin  on  that 
frame.  Let  it  dry,  then  lay  the  following  transparent  varnish 
on  it,  which  is  to  be  made  without  fire. 

2.  Dilute  in  a new  glazed  pipkin,  with  a soft  brush,  as  big 


SECRETS  IN  ARTS,  TRADES,  Sec. 


03 


as  your  thumb,  abouta  quarterof  a pound  of  Venice  turpentine 
and  twopenny  worth  of  spike,  and  turpentine  oils,  and  half  agil!? 
or  thereabouts,  of  spirit  of  wine.  This  varnish  being  no  thicker 
than  the  white  of  n egg,  lay  with  your  brush,  a coat  of  it  on 
the  wrong  side  of  the  print;  and,  immediately  another  on  the 
right.  Then  set  it  to  dry,  not  upright,  but  flat.  And,  if  it 
should  not  dry  quick  enough,  pass  alight  coat  of  spirit  of 
wine  on  the  whole. 

LXII.  How  to  colour  these  prints,  in  imitation  of  pictures 
in  oil  colours . 

1.  To  paint  these  prints,  you  must  work  them  on  the  back 
In  the  following  manner;  Prepare  first  your  colours  on  a pal- 
let, and  then  proceed  thus ; 

2 The  flesh  colour  is  made  with  a little  white  and  vermil- 
ion, which  mix  with  your  pencel  according  to  the  degree  of 
redness  you  will  have  it  —For  the  green  of  tree-  leaves,  you 
must  have  mountain-green,  ready  prepared  from  the  colourmani 
and  for  the  finest  green,  some  verdigrease.  As  for  the  lighter 
shades  of  these  colours,  you  only  add  some  yellow  to  either  of 
the  above  two,  more  or  less,  according  to  the  circumstances.— 
To  paint  woods  and  trunks  of  trees,  nothing  more  is  required 
than  umber.— To  express  sky-colours  and  clouds,  you  miss 
some  blue  cerus  with  white  lead  ; and  with  these  two  colors 
only,  you  alter  your  blues  to  various  degrees  of  shades,  dimin- 
ishing or  augmenting  one  of  the  two,  according  to  the  dark* 
ness  or  lightness  of  the  skies  which  you  want  to  express.  For 
the  distances,  a mixture  of  yellow  and  white  lead,  and  so  on 
for  the  other  colours  you  may  want. 

3.  You  are  to  compose  them  yourself  on  the  pallet  with  the 
pencel;  and  to  mix  or  unite  them,  use  a little  oil  of  nuts,  which 
take  up  with  the  point  of  the  pallet-knife.  Then,  with  your 
pencel,  you  apply  them  on  the  wrong  side  of  the  print. 

LIV.  A varnish  which  suits  all  sorts  of  prints  and  pictures  ; 
stands  water;  and  makes  the  work  appear  as  shining  as  glass* 

Dilute  one  quarter  of  a pound  of  Venice  turpentine,  with  a 
gill,  or  thereabouts,  of  spirit  of  wine.  If  too  thick,  add  a little 
more  of  this  last;  if  not  enough,  a little  of  the  former,  so  that 
? you  bring  it  to  have  no  more  thickness  than  the  apparent  one 
of  milk.  Lay  one  coat  of  this  on  the  right  side  of  the  prints 
j and  when  dry,  it  will  shine  like  glass.  If  it  be  not  to  your  lik- 
I 1U£>  you  need  only  lay  another  coat  on  it. 


64  SECRETS  IN  ARTS,  TRADES,  kc. 

LV.  To  make  appear  in  gold  the  figures  of  a print . 

1.  After  having  laid  on  both  sides'of  the  print,  one  coat  of 
the  varnish  described  in  the  above  Art.  Ivi.  in  order  to  make  it 
transparent,  let  it  dry  a little  while.  Then,  before  it  is  quite 
so,  lay  some  gold  in  leaves  on  the  wrong  side  of  the  print, 
pressing  gently  on  it  with  the  cotton  you  hold  in  your  hand. 
By  these  means  all  the  parts,  whereon  you  lay  these  gold  leaves, 
will  appear  like  true  massive  gold  on  the  right  side. 

% 2.  Now,  when  this  is  all  thoroughly  dry,  lay  on  the  right 
side  of  it,  one  coat  of  the  varnish  described  in  the  preceding 
Art.  Ivi.  it  will  then  be  as  good  as  any  crown-glass.  You 
may  also  put  a paste  board  behind  the  print,  to  support  it  the 
better  in  its  frame* 

LVX.  A curious  secret  to  make  a print  imitate  the 
painting  on  glass. 

Chuse  a crown-glass  of  the  size  of  your  print;  and  lay  on  it 
two  coats  of  the  following  varnish  ; 

1.  Put  on  the  fire,  in  a glazed  pipkin,  and  let  boil  for  the 
space  of  one  hour,  Venice  turpentine,  four  ounces;  spirit  of  the 
same,  and  of  wine,  equal  parts,  one  ounce  and  a half  of  each  ; 
mastice  in  tears,  two  drachms. 

2.  After  it  has  boiled  the  prescribed  time,  let  it  cool,  and 
then  lay  the  first  coat  on  the  glass ; this  being  dry,  lay  ano- 
ther ; and,  as  soon  as  this  Is  nearly  dry,  then  lay  on  it,  as 
neatly  as  possible,  the  print,  previously  prepared  as  follows. 

S.  Have  a glazed  vessel  so  broad  at  bottom  as  to  admit  of 
the  print  flat  with  all  ease  in  its  full  size.  Let  this  vessel  be 
also  as  wide  at  top  as  it  is  at  bottom,  that  you  may  get  the 
print  in  and  out  of  it  on  its  flat,  without  bending  it  in  the 
least.  Pour  aquafortis  in  this  pan  or  vessel,  enough  to  cover 
all  the  bottom,  then  lay  the  engraved  side  of  your  print  on 
that  aquafortis.  Take  it  out,  and  wipe  the  aquafortis  off 
gently  with  soft  rags,  then  steep  it  two  or  three  times  in  three 
different  clean  fresh  waters,  and  wipe  it  each  time  in  the  same 
manner. 

4.  This  being  done,  lay  the  right  side  on  the  beforemen tion- 
ed  glass,  before  the  second  coat  of  varnish  be  quite  dry,  and 
whilqit  it  still  moist  enough  for  the  print  to  stick  upon  it  uni- 
formly, equally,  and  smoothly,  without  making  any  wrinkles 
or  bladders.  When  it  is  perfectly  dried  in  that  situation,  wet 
your  finger  in  common  water,  and  moistening  the  print  on  the 
back  part  in  all  the  white  places,  which  have  received  no  im- 
pression from  the  engraving  of  the  plate,  rub  it  all  off.  By  these 
means,  there  will  remain  nothing  but  fairly  the  printed  parts. 


SECRETS  IN  ARTS,  TRADES,  &c. 


6d 

On  them  you  may  paint  in  oil  with  a brush,  and  the  most 
bright  and  lively  colours ; and  you  will  have  pictures,  on 
which  neither  dust  nor  any  thing  else,  will  be  able  to  cause 
any  damage.  To  do  this,  there  is  no  need  of  knowing  either 
how  to  paint  or  draw. 

i 

I LVII.  The  method  of  chalking ? for  those  who  are  not 
acquainted  with  drawing . 

They  who  are  not  acquainted  with  the  principles  of  draw* 

Iing,  may  amuse  themselves  with  chalking  some  beautiful  prints 
on  white  paper,  where  they  shall  have  nothing  more  to  do  af- 
terwards than  shade,  in  the  same  manner  as  they  see  done  in 
the  original.  When  they  shall  have  practised  for  a whikiia 
that  way,  they  will  soon  become  able  to  strike  out  themselves 
some  good  piece  or  design.  And  to  obtain  that  point,  the  fob  | 
lowing  method  is  recommended. 

1.  With  a soft  and  one  of  the  best  black  lead  pencils,  rub 
I one  side  of  a white  sheet  of  paper,  cut  to  the  size  of  the  print, 

! so  that  nothing  of  the  paper  can  be  seen,  and  only  the  black 
lead  colour.  Lay  this  sheet  on  the  clean  ride,  upon  the  face 
of  the  print,  that  it  may  not  soil  it  5 and  on  this  sheet,  the 
black  side  of  which  now  lies  uppermost  towards  you,  lay 
j another  sheet  of  clean  paper,  and  fix  these  three  .sheets  togeth- 
er by  the  four  corners,  and  on  the  edges  with  fine  pins,  so  that. 

I the  sheets  may  not  vary  one  from  another,  which  would  quite 
confuse  and  mar  the  whole  design. 

2.  Now  take  a blunted  needle,  or  ivory  point,  and  slip  it, 
in  pressing  gently  all  over  the  turns  of  the  prints,  going  gradu- 
ally and  orderly,  for  fear  of  forgetting  some  places,  which  may 
j be  prevented  by  laying  a flat  ruler  across  the  print  under  your 
I hands.  When  the  whole  is  finished,  unpin  the  papers,  and  on 
!|  the  under  part  of  that  which  lays  at  top,  you  will, find,  all  the 
i!  outlines  of  the  print  most  exactly  drawn. 

S.  You  may  now  on  these  outlines,  pass  a stroke  with  India 
j ! ink  and  a brush,  or  with  ink  and  a pen  ; after  which,  with  a 
cram  of  stale  bread,  you  rub  off  clean  all  the  useless  marks  of 
the  pencil,  and  leave  none  but  those  marked  with  ink.  And 
I]  to  shade  this  design,  wash  it  with  India  ink,  or  colours,  and  a 
j brush. 

■ LVII  I . To  prepare  a transparent  paper  to  chalk  with. 

In  order  to  obtain  the  art  of  chalking  neatly,  and  not  to  go 
out  of  the  fine  turns  and  outlines  of  a drawing,  beginners 
I should  first  know  how  to  prepare  a transparent  paper,  which 
! as  it  lets  them  see  the  minutest  parts  of  the  strokes  as  through 

G 


■66 


Secrets  in  arts,  trades,  &c. 


a glass,  gives  them  of  course  an  opportunity  of  acquiring  by 
practice,  a correctness  in  the  expression  of  all  the  turns  of 
drawing.  This  preparation  is  as  follows. 

1.  Have  one  or  several  sheets  of  fine  and  very  thin  paper,  and 
rub  them  over  with  oil,  or  spirit,  of  turpentine,  mixed  in  double 
the  quantity  of  oil  of  nuts.  To  cause  the  paper  to  imbibe  that 
mixture,  steep  a sponge  or  feather  in  it,  which  pass  on  both 
sides  of  the  paper,  and  then  let  it  dry. 

2.  When  you  want  to  use  it,  lay  it  on  a print.  Then,  with 
a brush,  a pencil,  or  a pen,  pass  over  all  the  strokes,  lines,  and 
turns,  of  the  design  laid  under.  You  may  even  thus  learn  to 
shade  with  neatness,  if  you  wash  that  same  design , while  fixed 
on  the  original  print,  with  India  ink. 

By  practising  often  you  may  learn  to  draw  very  neatly,  and 
even  with  boldness.  This  method  will  certainly  prove  very 
useful  and  entertaining,  for  those  who  have  not  the  patience  to 
learn  by  the  common  method,  which  seems  too  tedious  to 
some,  and  generally  disgusts  beginners. 

§VII.  FOR  PAINTING  ON  GLASS, 

LIX.  How  to  draw  on  glass. 

Grind  lamp-black  with  gum-water  and  some  common  salt. 
With  a pen  or  hair  pencil,  draw  your  design  on  the  glass,  and 
afterwards  shade  and  paint  it  with  any  of  the  following  com- 
positions. 

LX.  A colour  for  grounds  on  glass . 

1.  Take  iron  filings  and  Dutch  yellow  beads,  equal  parts.— 
If  you  want  to  have  a little  red  cast,  add  a little  copper  filings. 
With  a steel  mullar  grind  all  these  together  on  a thick  and 
strong  copper  plate,  or  on  porphyry.  Then  add  a little  gum- 
arabic,  borax,  common  salt  and  clear  water.  Mix  these  a little 
fluid,  and  put  the  composition  in  a phial  for  use. 

2.  Wrhen  you  come  to  make  use  of  it,  you  have  nothing  to 
do  but  with  a hair  pencil  lay  it  quite  fiat  on  the  design  you 

4iad  drawn  the  day  before  $ and  having  left  this  to  dry  also  for 
another  day,  with  the  quill  of  a turkey,  the  nib  of  which  shall 
not  be  split,  you  heighten  the  lights  in  the  same  manner  as  you 
do  with  crayons  on  blue  paper.  Whenever  you  put  more 
coats  of  the  above  composition  one  upon  another,  the  shade, 
you  must  be  sensible,  will  naturally  be  stronger.  And  when 
this  is  finished,  you  lay  your  colours  for  garments  and  com- 
plexions as  follows. 


67 


SECRETS  IN  ARTS,  TRADES,  &c. 

LXI.  Preparation  of  lake , for  glass. 

Grind  the  lake  with  a water  impregnated  with  gum  and  salt, 
and  then  make  use  of  it  with  the  brush.  The  shading  is  ope« 
rated  by  laying  a double*  treble,  or  more  coats  of  the  colour, 
where  you  want  it  darker.  And  so  it  is  of  all  the  following 
compositions  of  colours. 

LXIL  Preparation  of  the  blue  purple , for  glass. 

Make  a compound  of  lake  and  indigo,  grinded  together  with 
gum  and  salt  water ; and  use  it  as  directed  in  the  preceding 
article. 

LXIII.  Preparation  of  the  green  for  glass. 

Indigo  mixed  with  a proportionable  quantity  of  gamboge, 
and  grinded  together  as  above,  will  answer  the  intended  pur- 
pose. 

LXIV.  Preparation  of  the  yellow  for  the  same . 

Gamboge  grinded  with  salt  water  only. 

LXV.  Preparation  of  the  white . 

You  have  only  to  heighten  much  the  white  parts  with  a pen* 

LXVI.  The  proper  varnish  to  be  laid  on  glass  after 
painting. 

Roil  oil  of  nuts,  some  litharge,  lead  filings,  and  white  cop- 
peras  calcined.  When  done  and  cold,  lay  it  all  over  the  colours 
which  you  put  on  the  glass. 

LXV1I.  How  to  paint  on  glass  without  fire . 

Take  gum  arabic  and  dissolve  it  in  water  with  common 
salt,  bottle  and  keep  it.  With  this  liquor,  if  you  grind  the 
colours  you  intend  to  paint  with,  they  will  fix  and  eat  in  the 
glass.  Should  you  find  they  do  not  enough,  increase  only  thfe 
dose  of  salt = 


§8 


SECRETS  IN  ARTS,  TRADES,  kc. 


§ VIII.  PREPARATIONS  OF  COLOURS  OF  ALL  SORTS  FOR 
OIL,  WATER,  AND  CRAYONS. 

LX  VII I.  Jin  oil  to  grind  colours  with , when  the  works 

are  much  exposed  to  the  injuries  of  the  weather . 

Take  two  ounces  of  mastich  in  drops,  very  clear,  and  grind 
it  with  lintseed  oil.  Then  put  in  a well  glazed  pipkin  any 
quantity  of  that  oil,  and  set  it  on  the  fire  to  boil.  By  little 
and  little  introduce  in  that  boiling  oil  the  above  prepared  mas- 
lich,  stirring  well  the  whole  to  mix  and  incorporate  the  better. 
When  done,  take  it  from  the  fire  and  let  it  cool.  Such  is  the 
preparation  of  oil  with  which  you  are  to  grind  your  colours, 
when  they  are  to  be  much  exposed  to  the  injuries  of  the  weath- 
er, for  they  will  resist  it. 

LXIX.  To  marble  and  jasper  paper . 

1.  Grind  all  the  colours  you  wrant  to  employ  (such  as  lake, 
massicot,  indigo,  yellow  and  red  ochre,  See.  &c.)  with  bullock’s 
gall  ; grind  each  separately,  and  keep  them  so.  Then  have  a 
large  and  wide  pan  filled  with  lukewarm  gum  water.  Stir 
well  that  water  with  a stick.  While  it  is  in  motion,  and  your 
colours  being  ready  under  your  hand,  with  a large  brush,  take 
of  each  separately,  as  much  as  the  tip  of  the  brilsh  will  carry, 
and  touch  only  the  surface  of  the  water  with  it.  The  colours 
will  immediately  expand.  Each  colour  requires  a particular 
brush  to  itself.  Therefore,  with  another  brush,  take  of  another 
colour,  and  do  the  same ; and,  with  another  of  another,  and  so 
on,  till  you  have  put  on  your  water  all  those  you  have  destined 
for  the  purpose. 

2.  When  the  water  ceases  to  turn,  you  will  plainly  perceive 
all  the  variety  occasioned  by  the  different  colours.  Then,  ta- 
king your  sheet  of  paper,  lay  it  flat  on  the  water,  leave  it  there 
for  about  two  or  three  minutes,  and,  w ithout  taking  it  out, 
give  it  one  turn  round  on  the  water,  then  pull  it  by  one  of  the 
edges  to  the  side  of  the  pan,  w^ash  it,  dry  it,  and  burnish  it 
afterwards. 

Note.  The  paper  must  be  chosen  good,  and  the  water  fixed 
with  gum  adragrant. 

LXX.  To  clean  pictures . 

Take  the  picture  out  of  its  frame.  Lay  a clean  towel  on  it, 
which  for  the  space  of  ten,  fourteen,  or  eighteen  days,  accor- 
ding as  you  find  it  necessary,  you  keep  continually  whetting, 
till  it  has  entirely  drawm  out  all  the  filthiness  from  the  picture. 


SECRETS  IN  ARTS,  TRADES,  See. 


69 


Then,  with  the  tip  of  your  finger,  pass  some  lintseed  oil,  which 
has  been  set  a long  while  in  the  sun  to  purify  it,  and  the  pic- 
ture will  become  as  fine  as  new. 

LXXI.  Another  for  the  same  purpose. 

Put  into  two  quarts  of  the  oldest  lye  one  quarter  of  a pound 
of  Genoa  soap,  rasped  very  fine,  with  about  a pint  of  spirit  of 
wine,  and  boil  all  together  on  the  fire.  Strain  it  through  a 
cloth  and  let  it  cool.  Then  with  a brush  dipped  in  that  com- 
position, rub  the  picture  all  over,  and  let  it  dry.  Do  the  same 
again  once  more,  and  let  it  dry  too  When  dry,  dip  a little 
cotton  in  oil  of  nut,  and  pass  it  over  all  the  picture.  Let  this 
dry  again  ; and,  afterwards,  warm  a cloth,  with  which  rub  the 
picture  well  over,  and  it  will  be  as  fine  as  just  out  of  the 
painter’s  hands. 

LXXII.  A secret  to  render  old  pictures  as  fine  as  new. 

Boil  in  a new  pipkin,  for  the  space  of  a quarter  of  an  hour 
one  quarter  of  a pound  of  gray  or  Bril-ash,  and  a little  Genoa 
soap.  Let  it  cool  to  a lukewarm,  and  wash  your  picture  with 
it,  then  wipe  it.  Pass  some  olive  oil  on  it,  and  then  wipe  it 
off  again.  This  will  make  it  just  as  fine  as  new  . 

LXXIII.  An  oil  to  prevent  pictures  from  blackening. 
It  may  serve  also  to  make  cloth  to  carry  in  the  pocket 
against  wet  weather . 

Put  some  nut  or  lintseed  oil  in  a phial,  and  set  in  the  sun  to 
purify  it.  When  it  has  deposited  its  dregs  at  the  bottom,  de- 
cant it  gently  into  another  clean  phial,  and  set  it  again  in  the 
sun  as  before.  Continue  so  doing,  till  it  drops  no  more  fences  at 
all.  And  with  that  oil,  you  make  the  above  composition. 

LXXIY.  A wash  to  clean  pictures . 

Make  a lye  with  clear  water  and  wood  ashes  ; in  this  dip  a 
sponge,  and  rub  the  picture  over,  and  it  will  cleanse  it  perfect- 
ly. The  same  may  be  done  with  chamber-lie  only ; or  other- 
wise, with  white  wine,  and  it  will  have  the  same  effect. 

LXXV.  A very  curious  and  simple  way  of  preventing 
flies  from  sitting  on  pictures , or  any  other  furniture y 
and  making  their  dung  there . 

Let  a large  bunch  of  leeks  soak  for  five  or  six  davs  in  a pail 
G 2 


70  SECRETS  IN  ARTS,  TRADES,  &c, 

full  of  water,  and  wash  your  picture,  or  any  other  piece  of  fur- 
niture, with  it.  The  flies  will  never  come  near  any  thing  so 
washed.  This  secret  is  very  important  and  well  experienced. 

LX XVI.  To  make  indigo. 

Put  some  isatis,  otherwise  woad,  or  glastum,  with  slacked 
lime,  to  boil  together  in  water.  There  will  rise  a scum,  which 
being  taking  off,  and  mixed  with  a little  starch,  makes  the  indigo. 

LXXVH.  To  make  a yellow . 

What  the  luteola  dyes  yellow,  becomes  green  by  the  woad, 
or  glastum.  Whence  we  may  justly  conclude,  that  green  is 
not  a simple  colour,  but  a mixture  of  blue  and  yellow  as  the 
yellow  itself  is  a compound  of  red  and  white. 

LXXVI1I.  An  azure  of  mother-of-pearl. 

Take  any  quantity  of  superfine  tested  silver  in  laminas.  Put 
it  a little  while  in  vinegar ; then  take  it  out,  strew  over  the  lam- 
inas some  pounce  powder,  to  alcoholise  them.  Next  stratify 
them  in  a crucible  ; and  when  red  hot,  take  them  oft  from  the 
fire,  and  you  will  have  a fine  azure. 

LXXIX.  A white  for  painters , which  may  be  preserved 
for  ever . 

Put  into  a large  pan  three  quarts  of  lintseed  oil,  with  an 
equal  quantity  of  brandy,  and  four  of  the  best  double  distilled 
vinegar;  three  dozen  of  eggs,  new  laid  and  whole;  three  err 
four  pounds  of  mutton  suit,  chopped  small.  Cover  all  with  a 
lead  plate,  and  lute  it  well.  Lay  this  pan  in  the  cellar  for  three 
weeks,  then  take  skilfully  the  white  off,  then  dry  it.  The  dose 
of  the  composition  for  use  is  six  ounces  of  that  white  to  eve- 
ry one  of  bismuth. 

LXXX.  Another  white  for  ladies  paint. 

To  four  parts  of  hog’s  lard  add  one  of  a kid.  Melt  them  to- 
gether, then  wash  them.  Re-melt  and  wash  them  again.  Then 
add  four  ounces  of  ammoniac  salt,  and  as  much  of  sulphur,  in 
subtile  powder.  This  white  will  keep  a long  time. 


SECRETS  IN  ARTS,  TRADES,  Sec,  71 

LXXXX.  A good  azure . 

Take  two  ounces  of  quicksilver;  sulphur  and  ammoniac  salt, 
of  each  one  ounce.  Grind  all  together,  and  put  it  to  digest  in  a 
matrass  over  a slow  heat.  Increase  the  fire  a little ; and,  when 
you  see  an  azured  fume  arising,  take  the  matrass  off  from  the 
fire.  When  cool,  you  will  find  in  the  matrass  as  beautiful  an 
azure  as  the  very  ultramarine  itself. 

LXXXIX.  An  azure  from  silver , done ■ in  less  than  a 
fortnight. 

Dissolve  in  very  strong  vinegar,  as  much  gem- salt  and  roch- 
alum,  as  it  will  dissolve.  Put  this  in  a new  pipkin;  and  over 
it  hang  up  laminas  of  the  finest  tested  silver.  Cover  the  pot, 
and  lute  it  well.  Bury  it  in  the  celler ; and  ten  or  fifteen  days 
afterwards  take  off  the  azure,  which  you  will  find  about  the 
laminas.  Replace  things  as  before  ; and,  ten  days  afterwards, 
the  same  again  ; and  repeat  this  process  as  many  times  as  you 
can  get  any  azure  by  it. 

LXXXIXI.  To  make  an  azured  water. 

1 . Gather  walhvort  grains  between  green  and  ripe,  and  bake 
or  stew  them  in  a pan.  When  they  have  boiled  a considerable 
time,  strain  them  through  a cloth,  and  keep  the  juice  in  a glass 
phial ; its  colour  .will  never  change,  arid  will  keep  for  ever  very 
fine. 

2.  Have  next  dog's  dung,  very  dry.  Pulverise  it  very  fine, 
and  sift  it  through  a silk  sieve.  Then  grind  it  on  a marble  with 
the  wallwort  juice,  and  a mullar,  as  painters  do  their  colours, 
and  you  will  find  this  paste  of  a very  fine  azure  colour. 

3.  Now,  if  you  tinge  any  water  with  this,  by  putting  it  in  a 
|i  phial  to  soak,  you  may  dye  whatever  you  Will  with  it,  such 

as  thread,  cotton,  cloth,  Sc c. 

LXXXX  V.  Another  way  of  making  azure . 

ji  Take  the  bulk  of  a filbert  of  amoniac  salt,  which  dissolve  fa. 

I a common  half  pint  glass  tumbler  of  water.  Then  pound  and 
| sift,  all  together,  one  ounce  of  vitriol,  and  one  and  a half  of 
quick  lime  Put  this  powder  into  the  water  in  which  the  am- 
j moniac  salt  was  dissolved.  Leave  this  to  infuse  for  the  space 
I of  forty-eight  hours,  and  at  the  end  of  that  term  the  azur^shaU 
be  done-. 


72  SECRETS  IN  ARTS,  TRADES,  Sec. 

LXXXV.  A fine  azure . 

Make  an  incorporation  of  three  ounces  of  verdigrese,  and 
of  an  equal  quantity  of  ammoniac  salt,  which  dilute  with  tar- 
tar water,  so  as  to  make  a thick  paste  of  it.  Put  this  compo- 
sition into  a glass,  and  let  it  rest  for  a few  days,  and  you  will 
have  a fine  azure. 

LXXXVI.  Another  way. 

Pulverise  and  mix  well  together  one  part  of  ammoniac  salt, 
and  two  of  verdigrease,  with  a little  ceruse.  Then  pour  over 
it  oil  of  tartar,  enough  to  make  a clear  paste  of  it.  Put  this 
in  a glass  vessel,  which  take  care  to  stop  and  lute  well.  When 
done,  put  it  in  an  oven  along  with  the  bread,  and  take  it  out 
with  it  also,  then  the  azure  will  be  done. 

LXXXVXI.  A?iother  way. 

Take  sublimed  mercury,  four  parts ; ammoniac  salt,  two ; 
sulphur  vivum,  one.  Pulverise  the  whole,  and  put  the  pow- 
der in  a matrass,  which  lute  well  with  the  lute  of  sapience.  Put 
this  matrass  on  a mild  and  slow  fire;  and,  when  you  see  a white 
fume  beginning  to  rise,  stop  the  firq.  When  the  matrass  is 
cold,  break  it,  and  you  will  find  a very  fine  azure  at  the  bottom. 
!Now  take  it,  and  work  it  with  lukewarm  water  first,  and  then 
with  cold. 

Note.  There  are  some  who  absurdly  wash  it  with  lye,  or  a 
strong  lime  water;  but  they  spoil  their  azure  entirely.  What 
Is  most  adviseable,  and  indeed  the  only  preparation  allowable, 
it  to  boil  a little  white  honey  in  the  water,  and  skim  it ; and 
when  that  water  becomes  lukewarm,  wash  the  azure  with  it. 
This  may  contribute  to  give  it  a fine  colour,  but  the  other  will 
certainly  hurt  it. 

LXXXVIIX.  To  make  an  admirable  white  lead,  fit  for 
oil  painting  and  colouring  of  prints. 

Grind  the  finest  white  lead  in  flake  you  can  find,  on  the  stone 
with  vinegar.  It  will  immediately  turn  black.  Wash  it  well 
in  a panful  of  water,  and  let  it  settle  , Pour  the  water  off  by 
inclination,  and  grind  it  again  with  fresh  vinegar,  then  w7ash  it 
a-new.  Repeat  this  operation  four  or  five  times,  and  you  will 
get  a most  beautiful  white. 


SECRETS  11ST  ARTS,  TRADES,  &c. 
LXXXIX,  The  preparation  of  ver digrease. 


Grind  the  verdigrease  with  vinegar,  and  put  it  in  a piece  of 
brown  bread  dough.  Bake  it  as  you  would  bread  *,  and  when 
done,  cut  it  open  and  take  it  out.  You  will  then  have  a very 
fine  verdigrease,  fit  to  work  with,  either  in  oil  or  water,  a& 
you  like. 

XC.  A fine  liquid  green . 

Mix  well  together,  one  pound  of  Montpelier  verdigrease,  and 
half  a pound  of  white  tartar  from  the  same  place.  Put  this  a 
soaking  for  twelve  hours  in  two  quarts  of  the  strongest  vinegar, 
then  reduce  it  by  boiling  to  one  half.  Let  it  rest  for  two  days, 
and  filter  it  afterwards  in  a bottle,  wherein  you  keep  it  for  use.* 

XCI.  To  make  the  8 till -de -grain , or  Tdr own  [link. 

Bruise  and  boil  in  three  quarts  of  water,  four  ounces  of  French 
berries,  to  the  reduction  of  one  half.  Strain  all  through  a cloth, 
and  put  in  this  juice  a discretionable  quantity  of  whitening, 
pounded  and  sifted  into  a subtile  powder,  so  as  to  make  a thick, 
paste,  which  put  into  small  tied  bags,  and  set  to  dry  on  tiles. 
When  dry,  it  is  used  with  gum.  And  to  render  it  finer,  you 
may  put  some  gamboge. 

XCIL  To  make  a fine  vermilion. 

Make  a mixture  of  cochineal  powder  and  burnt  alum.  Stifle 
it  quite  hot  in  rose  or  plantain  water.  It  will  give  you  the  fi- 
nest vermilion  in  the  world. 

XCIII.  A secret  to  draw  without  either  ink  or  pencil; 

Rub  a sheet  of  paper  with  tripoly.  Then  with  any  blunt 
point,  form  your  drawing  on  it.  Whatever  you  trace  will  be 
visible. 


XC1V.  To  make  an  imitation  of  enamel  on  tin  ^ for  chim- 
ney branches , &c. 


Get  a sheet  of  block- tin  very  clean,  and  cut  it  in  the  form, 
shape,  and  figure  you  chuse  to  make  your  flowers  and  other 
things.  Grind  what  colours  you  propose  to  make  use  of,  with 
dean  water,  and  each  separately,  then  let  them  dry.  When 
you  want  to  employ  them,  dilute  them,  each  apart,  with  liquid 


74 


SECRETS  IN  ARTS,  TRADES,  &c. 

varnish,  and  lay  them  on  with  the  brush.  Set  the  work  ii 
the  open  air  for  fear  the  colours  should  run,  and  when  they  an 
a little  thickened  and  consolidated,  finish  drying  them  befon 
a gentle  fire. 

XC  V.  A valuable  secret  to  make  exceeding  good  crayons 
as  hard  as  red  chalky  discovered  by  Prince  Rufiert , bro 
ther  to  Prince  Palatin . 

Grind  on  the  stone  some  tobacco-pipe  clay,  with  common 
water,  so  as  to  make  a paste  of  it.  Then  take  separate  y eacl 
colour,  and  grind  them,  when  dry,  on  the  stone,  so  t:  ae  as  tc 
sift  them  through  a silk  sieve.  Mix,  of  each  of  the  colours 
with  your  first  white  paste,  as  much  as  will  make  it  of  a highei 
or  paler  hue,  and  embody  the  whole  with  a little  common  ho 
ney  and  gum  arabic  water. 

Note . You  must  be  attentive  to  make  crayons  of  various  de* 
grees  of  hues  in  each  colour,  for  the  chiaros  and  oscuros,  ox 
lights  and  shades.  Then  roll  each  crayon  between  two  board? 
very  clean,  and  set  them  to  dry  on  paper  for  twp  days  in  the 
shade  To  complete  their  drying,  lay  them  in  the  sun  $ and  then 
you  may  use  them  with  satisfaction. 

XCVL  To  render  the  stone -cinnabar  and  vermilion 
finer  ; and  at  the  same  time , to  prevent  them  from  black- 
ening. 

1.  You  raise  the  hue  of  the  stone  vermilion,  if,  in  grinding 
It,  you  add  gamboge  water,  tinged  with  a little  saffron.  This 
preparation  extends  only  to  the  red. 

2.  With  respect  to  the  orange  colour,  you  must  add  some 
minium  to  it. 

3.  For  the  yellow,  put  a discretionable  quantity  of  orpine  in 
cakes,  prepared  as  follows Take  the  finest  orpine  you  can 
find,  and  grind  it  well  with  water.  Make  it  in  little  cakes,  and 
set  it  to  dry  on  paper.  When  dry,  pulverise  and  use  it. 

4.  For  the  gridelin,  take  French  sorrel  and  boil  it  in  water, 
to  draw  as  strong  a tincture  from  it  as  you  possibly  can.  Then 
have  white  lead  ( dried  in  cakes,  and  prepared  after  the  method 
abovementioned  for  the  orpine)  and  grind  it  a-new  with  this  sor- 
rel tincture,  then  dry  it.  Grind  and  dry  it  again,  and  repeat 
this  operation  with  the  sorrel  tincture,  till  you  have  obtained 
the  desired  point  of  colour. 

XCVII.  Process  used  in  making  Eastern  carmine . 

1.  Have  a two  quart  glazed  pipkin,  quite  new,  wash  it  with 


75 


SECRETS  IN  ARTS,  TRADES,  Sec. 


i 


boiling  water,  then  fill  it  with  water,  very  clean  and  filtered. 
Set  it  on  blasting  coals,  and  when  it  begins  to  boil,  throw  in  a 
drachm  of  chouan  in  fine  powder,  which  boil  very  quick  for 
near  a quarter  of  an  hour.  Then  strain  this  water  through  a 
cloth  washed  in  lye,  but  not  with  soap  and  receive  it  in  ano- 
ther new  glazed  pipkin,  washed  as  the  first.  Put  this  on  a fire 
not  quite  so  blasting  as  the  first;  and,  when  it  begins  to  give 
signs  of  boiling,  throw  in  an  ounce  of  the  finest  cochineal,  pul- 
verised very  fine.  Stir  often  with  a hazel  stick,  stripped  of  its 
peel,  and  let  boil  gently  for  near  a quarter  of  an  hour;  then 
throw  in  sixty  grains  of  autour  in  subtile  powder,  and  keep  it 
boiling  for  half  a quarter  of  an  hour.  Take  it  off  from  the  fire, 
and  throw  in  sixteen  grains  of  Roman  alum  in  powder,  then 
strain  it  immediately  through  a clean  cloth,  washed  with  lye, 
and  no  soap,  and  receive  it  in  two  different  large  china  bowls, 
new  and  perfectly  clean.  Place  these  in  a room,  where  they 
will  be  perfectly  free  from  dust,  and  let  them  rest  there  for  a 
week,  that  the  carmine  may  have  time  to  make  a precipitation, 

2.  At  the  end  of  this  term,  decant  out  gently  your  tincture 
into  two  other  china  bowls,  of  the  same  size  as  the  two  former 
and  as  perfectly  clean,  taking  great  care  in  decanting,  to  do  it 
so  gently  that  the  liquor  may  not  carry  the  carmine  along  with 
it.  Then  dry  in  a shade  the  carmine,  which  is  left  in  the  bot- 
tom  of  your  bowls,  gather  it  with  a little  brush,  and  keep  it  ve- 
ry cleanly. 

3.  Eight  or  ten  days  afterwards,  more  or  less,  decant  again  the 
tincture  which  is  in  the  second  bowl  into  a new  varnished  pip- 
kin, then  dry  and  gather  the  carmine,  which  is  at  the  bottom, 
in  the  same  manner  as  the  first. 

4.  Then  set  the  pipkin,  in  which  the  carmine  has  been  decan* 
ted  for  this  second  time,  on  the  fire,  and  vaporise  the  liquor 
gently,  till  the  ground  remains  in  the  consistence  of  a pap.  This 
pap-like  ground  must  then  be  put  into  several  small  china  cups, 

i and  placed  in  the  sun  to  dry,  which  will  procure  you  again  ano- 
| ther  carmine,  darker,  and  much  less  valuable  than  the  first. — 
Should  there  happen  any  moistness  on  your  last  cups,  take  it 
off  immediately, but  gently,  and  with  a great  deal  of  care. 

5.  In  order  to  take  the  water  off  from  your  china  bowls,  you 
j!  might  make  use  of  another  method,  viz.  a very  fine  and  clean 
j sponge,  in  the  -following  manner  : Dip  your  sponge  into  very 
; clear  and  pure  water,  and  there  work  it  well  with  your  hand, 
i soaking  and  pressing  it  alternately,  till  you  have  rendered  it  very 
j soft.  Then  press  and  squeeze  it  dry  in  a clean  towel.  Now, 

if  you  only  approach  it  to  the  superfice  of  the  tincture  water, 
it  will  immediately  fill  itself  with  it,  and  you  may  squeese  it  in- 
j to  another  empty  bow],  thus  repeating  the  same  process,  till 
you  have  got  it  all  out  of  the  first  bowls  ; taking  care  every  time 
| you  approach  it  to  the  surface  of  the  water,  lest  it  should  touQh 


..76  SECRETS  IN  ARTS,  TRADES,  &c, 

the  carmine  ; for  no  doubt  but  it  would  carry  some  along  with 
the  water. 

6.  If  you  dissolve  one  drachm  of  mineral  crystal  into  this 
tincture,  by  boiling  it  to  that  effect  for  five  or  six  minutes,  it 
will  help  a great  deal  the  precipitation  of  the  colour,  from  which 
you  take  out  afterwards  the  water  with  a sponge,  as  we  said 
before.  Should  the  water  you  have  thus  drawn  out  be  still  tin- 
ged, you  may  add  some  more  mineral  crystal  to  it  again;  boil 
it  as  before,  strain  it  through  a cloth,  and  let  it  settle.  By 
these  means  you  will  have  very  fine  crimson  carmine. 

XCVIII.  The  process  observed  in  making  the  lake . 

1.  Take  one  pound  of  Alicant  kali,  or  Bril-ash,  pulverised, 
which  put  in  a kettle  with  four  quarts  of  spring  water.  Boil 
the  whole  for  the  space  of  a quarter  of  an  hour,  keeping  stir- 
ring all  the  while  with  a stick,  then  take  it  from  the  fire,  and  let 
it  cool,  so  as  to  be  able  to  keep  your  finger  in  it  without  scald- 
ing. When  it  is  in  that  state,  throw  it  in  a jelly-bag,  made  of 
cloth,  to  filter  it,  and  render  it  perfectly  clear.  Put  it  next  in 
a new  glazed  pipkin,  with  one  ounce  of  finely  pulverised  coch- 
aneal,  previously  diluted  by  degrees  with  some  of  the  same  lye. 
Set  it  a boiling  for  half  a quarter  of  an  hour,  and  never  cease  to 
stir  it  with  a stick  all  the  while  it  is  on  the  fire — You  may,  if 
you  chuse,  add  one  drachm  of  serra  merits  in  fine  powder,  at 
the  same  time  with"  that  of  the  cochineal  ; it  will  render  your 
lake  the  redder— When  the  whole  shall  have  boiled  the  prescrib- 
ed time,  take  it  off  the  fire,  and  let  the  tincture  cool,  in  order 
to  pass  it  through  a cloth,  or  the  above-mentioned  jelly- bag. 
Set  a large  stone  pan  under  the  bag  to  receive  the  tincture  which 
shall  filter;  and,  when  all  is  well  drained,  take  the  bag,  turn  it 
to  throw  off  all  the  dregs,  and  wash  it  well,  inside  and  outside, 
in  clear  water,  and  wring  it  quite  dry. 

2.  Now  hang  again  this  same  bag  at  two  feet  distance,  or  there- 
about, above  the  pan  wherein  the  tincture  did  run,  and  now  is. 
Dissolve,  in  about  two  quarts  of  warm  spring  water,  six  ounces 
of  Roman  alum  well  pounded,  that  it  may  more  readily  melt. 
When  this  dissolution  is  no  more  than  lukewarm,  have  some- 
body to  pour  it  for  you  in  the  above  jelly  bag,  while  you  stir 
with  a stick  what  runs  from  it  into  your  tincture,  and  do  so  till 
the  whole  is  passed  through,  and  the  tincture  froths  no  more — 
Then  wring  well  your  bag  again,  to  express  all  the  alum’s  dis- 
solution from  it  into  your  tincture,  and  wash  it  again  afterwards 
in  clear  water,  as  before. 

3.  Have  another  stone  pan  like  the  first,  hang  your  bag  again 
over  it, and  pour  all  your  tincture  in  it.  If  itrun  clear  like  water, 
you  maythen  let  it  go  so;  if  not,  put  it  again  in  the  bag  over  the 
other,  and  continue  so  to  do  till  it  absolutely  does  run  clear. 


SECRETS  IN  ARTS,  TRADES,  &c 


n 

If,  however,  after  having  repeated  this  three  or  four  times,  it 
should  continue  to  run  tinged,  dissolve  two  or  three  ounces 
more  of  pulverised  Roman  alum  in  about  two  quarts  of  that 
tinned  water,  then  stir  and  mix  it  well  in  the  whole  quantity  of 
tincture,  then  pour  it  again  in  the  bag  where  the  lake  is,  re-pour- 
Ing  again  and  again  what  shall  run  first  from  it,  till  it  runs  quite 
clear,  and  does  not  even  strain-the  paper. 

4.  Then  let  drain  well  the  lake  which  is  in  the  bag : and, 
with  a box-spoon  take  it,  and  spread  it  on  pieces  of  cloth,  laid 
on  plastered  stones^  and  let  it  dry,  in  the  shade  where  there  is 
no  dust,  or  where,  at  least,  you  may  preserve  it  from  any. 

XCIX.  To  make  the  fine  columbine  lake . 

1.  Take  half  a pound  of  the  finest  Brasil  wood  you  can  find. 
Cut  it  in  small  bits,  and  pound  it  in  an  iron  mortar.  Put  this 
in  a new  glazed  pipkin  ; pour  over  it  two  quarts  of  strong  wine 
vinegar.  Let  this  infuse  without  the  assistance  of  any  heat  for 
three  whole  days.  Boil  it  next  for  half  an  hour;  then  add  one 
ounce  of  pulverised  Roman  alum,  and  boil  it  again  for  the  space 
of  three  quarters  of  an  hour,  that  the  alum  may  the  more  per- 
fectly be  dissolved,  and  the  stronger  the  colour. 

2.  Take  the  pot  off  the  fire ; and  rasping  the  softest  part  of  a 
dozen  cuttle-fish  bones,  add  this  powder  to  it.  Replace  the 
pot  on  the  fire,  and  stir  the  contents  till  you  see  a froth  rising 
on  the  composition ; when  immediately  taking  the  pot 
off  from  the  fire  again,  cover  with  its  lid,  and  let  it  stand  for 
a week.  During  that  space  of  time  you  must,  however,  care- 
fully stir  this  matter  four  times  a day. 

3.  Have  next  a glazed  pan,  filled  with  dry  sand  as  high  as 
three  fingers  from  the  brim  In  this  sand  put  your  pot  half 
way  in.  Place  all  on  a charcoal  fire,  till  it  nearly  boils;  then, 
taking  the  pot  off  from  the  fire,  run  the  liquor  through  a clean 
cloth.  Put  it  in  different  retorts,  and  set  them  half  way  in  the 
sand  again,  which,  by  this  time,  ought  to  be  quite  cold.  Re- 
place all  on  the  fire  as  before,  and  keep  it  there  till  it  begins 
to  simmer ; then  taking  it  from  the  fire,  let  it  cool,  and  the 
lake  is  done.  But  it  must  not  be  used  till  twelve  days  after. 

Note.  When  the  tincture  is  in  the  retorts,  you  may  put  in- 
each  of  them  half  a gill  of  lye,  made  with  vine  branch  ashes. 
When  you  put  the  powder  of  cuttle  fish  bones  in  the  tincture, 
you  must  take  care  it  is  warm.  The  residue  which  is  found  at 
the  bottoms  of  the  retorts  ought  not  to  be  thrown  away,  as  it 
is  very  good  to  paint  in  watercolours. 


H 


78  SECRETS  IN  ARTS,  TRADES,  Sec. 

C.  A fine  red  water,  for  miniature  painting . 

1.  Put  in  a new  glazed  pipkin  one  ounce  of  Fernamhurg 
Brasil  wood,  finely  rasped.  Pour  three  pints  of  spring  water 
on  it,  with  six  drachms  of  fine  white  isinglass  chopped  very- 
small.  Place  the  pot  on  warm  ashes,  for  three  days,  during 
which  you  are  to  keep  up  the  same  degree  of  heat. 

2.  When  the  isinglass  is  melted,  add  two  ounces  of  kermes 
in  grain,  one  of  alum,  and  three  drachms  of  borax,  well  pound- 
ed. Boil  this  gently  to  the  reduction  of  one  half ; then  strain 
the  liquor  through  a cloth,  bottle  and  stop  it  well,  and  set  it  in 
the  sun  for  a week  before  using. 

j\  ote.  This  water  may  very  properly  be  used  as  a wash  to 
give  an  agreeable  bloom  to  pale  faces. 

CL  The  receipt  of  the  fine  Venetian  lake , 

1 . Take  one  pound  of  good  pearl  ashes.  Put  it  in  a large 
copper  ; then,  pour  over  it  six  gallons  of  spring  water.  Let 
the  pearl  ashes  soak  thus  twenty -four  hours,  after  which,  set 
the  copper  on  the  fire,  aud  boil  it  for  one  quarter  of  an  hour. 
Then  filter  through  a cloth  jelly-bag,  and  receive  the  filteration 
in  a stone  pan. 

2.  If  not  quite  clear,  filter  it  till  it  is  ; changing  the  pan  on- 
ly underneath,  pour  what  ran  thick  in  the  bag  again.  When 
all  is  new  ,filtered  and  clear,  put  in  the  copper  again,  which 
must  have  been  previously  washed,  and  set  it  on  the  fire  to 
boil.  When  it  boiles,  throw  in  twro  pounds  of  fine  scarlet  flocks 
which  boil  to  whiteness  Then  filter  again  this  lye  tinged  with 
scarlet  colour,  in  the  beforementioned  jelly  bag,  and  press  w7ell 
the  flocks,  that  there  may  not  remain  any  colour  in  them. 

Observe  that  your  bag  may  serve  both  for  the  lake  and  tinc- 
ture, without  being  at  the  trouble  of  cleansing  it,  you  must  not 
filter  through  it  the  second  lye  in  which  the  scarlet  is.  For 
should  you  pour  this  lye  from  the  copper,  directly  into  it,  the 
scarlet  flocks  would  undoubtedly  run  with  the  lye,  which  w^ould 
give  you  an  infinite  deal  of  trouble  to  get  out  of  the  bag  , af- 
ter the  filtering  of  the  tincture.  And  the  least  bit  of  it  vrould 
entirly  spoil  the  lake  ; to  avoid  all  these  inconveniences,  strain 
your  second  lye  either  through  a cloth,  or  another  bag  by  itself. 

3.  While  the  tincture  is  filtering,  get  the  copper  well  clean- 
ed, and  wiped  dry.  Put  the  filtered  tincture  in  it.  Dissolve, 
over  the  fire,  in  a glazed  earthen  pan,  half-a-pound  of  Roman 
alum  in  one  quart  of  spring  water.  Then  strain  it  quickly, 
and  while  wrarm,  pour  it  in  your  tincture,  keeping  stirring  all 
the  while,  and  afterwards,  till  all  the  froth  has  quite  subsided. 
Boil  next  altogether  for  the  space  of  half  a quarter  cf  an  hour. 


SECRETS  IN'  ARTS,  TRADES,  &c. 


79 


Then  throw  it  in  the  same  bag  that  filtered  your  first  lye,  and 
receive  the  Alteration  into  a clean  stone  pan. 

4.  Besides  this:  boil  again,  in  another  quart  of  spring  water, 
half  a pound  of  Fernamburg  Brasil  wood,  cut  and  and  bruised 
in  an  iron  mortar.  Strain  it  through  a cloth,  and  pour  it  along 
with  the  above  dissolution  of  Roman  alum  in  the  jelly  bag, 
and  stir  it  to  run  altogether. 

5 After  all  is  run  out  of  the  bag,  throw  in  again  half  a pint 
of  quite  clear  and  pure  spring  water. 

6.  When  nothing  runs  any  more  out  of  the  bag,  the  lake  is 
left  in  it.  Take  it  out  with  a box  spoon,  and  spread  it  on 
plaister  flat  stones,  three  fingers  thick,  and  about  half  a foot 
square,  covered  with  white  cloth  of  the  same  size.  For  should 
there  be  no  cloth  on  the  plaister,  the  lake  would  stick  to  it. 

Note.  It  often  happens  for  the  first  water  which  runs  out 
of  the  bag  to  be  muddy,  and  to  carry  some  lake  along  with  it. 
But  you  must  continue  filtering  till  it  comes  bright  and  clear. 
Then  taking  off  the  pan  from  underneath,  and  substituting  ano- 
ther, put  that  muddy  liquor  into  the  bag  again.  Should  the  fil- 
tration by  chance  continue  to  run  red,  as  it  sometimes  happens, 
you  must  still  keep  filtering  the  liquor  through  the  bag,  till  it 
is  clarified. 

CIX.  Directions  for  colouring  prints. 

1.  All  the  colours  which  are  used  for  colouring  prints  are 
grinded  with  gum  water;  the  calcined  green  only  excepted, 
which  grinds  with  vinegar. 

2.  The  chief  of  these  colours  are,  fine  azure,  vermilion,  Ve- 
netian lake,  fine  verditure,  white  lead,  calcined  green,  umber, 
Cologn  earth,  indigo,  French  berries  juice,  yellow  ocre,  yellow- 
massicot;  white  massicot,  brown  ochre,  bistre,  prepared  soot 
lamp-black, and  brown  red. 

5.  For  complexions,  make  a mixture  of  white  and  vermilion, 
more  or  less,  according  as  you  want  the  colour.  For  the  lips, 
it  is  a mixture  of  lake  and  vermilion,  and  the  shades  are  made 
with  white  and  vermilion,  and  a great  deal  of  umber. 

4.  For  fair  hair,  join  a good  deal  of  white  with  very  little 
umber.  If  a carrotty  colour,  take  yellow  ochre  and  brown  red ; 
the  shade  with  bistre  and  lake  mixed  together.  If  light,  only 
mix  some  black  and  white  and  umber  together. 

5.  Clothes,  are  made,  if  linen,  with  white  lead  and  a little 
blue ; if  stuffs,  with  white  lead  alone,  and  the  shades  with  a grey 
colour,  made  by  means  of  a mixture  of  black  and  white  lead  to- 
gether.  If  a white  cloth,  you  must  make  a mixture  of  white, 
and  umber  together,  and  shade  it  with  a compound  of  umber 
and  black*  If  a red  cloth^  use  vermilion  in  the  lighter  parts  of 


so 


SECRETS  IN  ARTS,  TRADES,  &c. 


the  folds,  lake  and  vermilion  for  the  clear  shades ; the  lake  a- 
lone,  laid  on  the  vermilion,  will  form  the  dark  shades. 

CIII.  Directions  for  the  mixture  of  colours 

1.  The  pale  yellow  for  the  lights,  is  made  with  white  mass- 
icot. The  chiaro  oscuro,  with  the  massicot  and  umber.  The 
dark  shade  with  umber  alone. 

2.  The  orange  colour  is  made  with  black  lead  for  the  lights, 
shade  with  the  lake. 

3.  The  lake  is  used  very  clear  for  the  lights,  in  draperies,  and 
thicker  for  the  shades. 

4.  The  purple  is  made  with  blue,  white,  and  lake,  for  the 
lights ; blue  and  lake  only  for  the  clear  shades,  and  indigo  and 
blue  for  the  darker  ones. 

5.  The  pale  biue  is  used  for  the  lights,  and  for  the  dear 
shades  a little  thicker  ; but  for  the  darker  shades,  mix  the  in- 
digo and  blue  together. 

6.  The  gold  like  yellow  is  made  with  yellow  massicot  for 
the  lights;  and  the  clear  shades  with  a mixture  of  black  lead 
and  massicot ; the  darker  shade  with  lake,  yellow  ochre,  and 
very  little  black  lead;  and  the  darker  of  all,  with  Cologn  earth 
and  lake. 

7.  The  green  is  of  two  sorts.  The  first  made  with  massi- 
cot and  blue,  or  blue  and  white ; and  for  the  shades,  make  the 
blue  predominate  in  the  mixture.  The  other  is  made  with 
calcined  gieen  ; and  French  berries  juice,  mixed  and  calcined 
green  ; and  you  may  form  their  shades  by  addition  of  indigo* 

8.  For  trees  you  mix  green  and  umber  together. 

9.  The  grounds  are  made  in  the  same  way  ; wherever  there 
is  any  green,  take  calcined  green,  with  French  berries  juice. 

10.  For  the  distance,  mix  green  and  blue  together;  and  moun- 
tains are  always  made  with  blue. 

11.  The  skies  are  likewise  made  with  blue,  but  you  must  add 
a little  yellow  to  them,  when  it  comes  nearthe  mountains;  to 
make  the  transition  between  that  and  the  blue,  mix  a little  lake 
and  lue  together  to  soften  it. 

12.  Clouds  are  made  with  purple;  if  they  be  obscure ; you 
must  mix  lake  and  indigo  together. 

is.  Stones  are  made  with  white  and  yellow  mixed  together, 
and  their  shades  with  black. 

CIV,  Directions  for  painting  fresco. 

}•  Lay  on  the  intended  wall  a coat  of  rifted  silver  sands, 
mixed  with  old  slack  lime,  pulverised  and  sifted  also.  This 
goat  is  not  to  be  laid  on  the  wall,  but  in  proportion  as  you 


SECRETS  IN  ARTS,  TRABES,  &c. 


81 


paint:  therefore  prepare  no  more  at  a time  than  you  are  sure 
to  pain  over  in  one  day,  while  fresh  and  moist.  The  body 
of  the  wall  on  which  you  lay  this  coat  must  previously  be 
pargetted  with  plaister,  or  mortar  made  with  sand  and  lime. 
And  if  the  paintings  are  to  be  exposed  to  the  injuries  of  the 
weather,  the  mason’s  work  must  be  made  of  brick  or  freestones 
very  dry. 

2.  Before  you  begin  to  paint,  you  must  prepare  your  designs 
in  their  full  intended  size,  on  paper,  and  chalk  them  one  after  a- 
nother  on  the  wall,  in  proportion  as  you  work,  and  no  longer 
than  half  an  hour  after  the  coat  of  prepared  river  sand  has  been 
laid  on,  and  well  polished  with  a trowel. 

3.  In  these  sorts  of  paintings  all  the  compounded  and  artifi- 
cial made  colours,  as  well  as  most  of  the  mineral  ones,  are  re- 
jected. They  use  hardly  any  other  but  earths,  which  may 
preserve  their  hue  and  defend  it  from  being  burnt  by  the  lime. 
And  that  the  work  may  for  ever  preserve  its  beauty,  you  must 
employ  them  quickly  while  the  coat  underneath  is  still  moist; 
and  never  as  some  do,  touch  them  over  after  they  are  dry,  with 
colours  diluted  in  yolks  of  eggs,  glue,  or  gum,  because  these 
colours  always  blacken,  and  never  keep  that  vivacity  and  bril- 
liancy those  have  which  have  been  laid  at  first  when  the  ground 
was  moist.  In  the  case  of  paintings  exposed  in  the  air,  this 
sort  of  touching  up  is  never  good,  and  too  often  scales  off  in 
a short  time. 

CV.  Directions  for  the  choice , use  and  comfiosition  of 
the  colours  employed  for  the  above  purpose . 

The  colours  made  use  of  for  the  above  purpose,  are  such  as. 
follow. 

1.  The  white  is  made  with  a lime  which  has  been  slacked 
for  a great  while,  and  white  marble  in  subtile  powder,  mixed  in 
about  equal  quantities.  Sometimes  no  more  than  a quarter 
part  of  the  marble  dust  is  required,  which  depends  entirely  on 
the  quality  of  the  lime,  and  cannot  be  known  but  when  you 
come  to  use  it ; for  if  there  be  too  much  marble,  the  white  will 
turn  black. 

2.  Ochre  or  brown  red,  is  a natural  earth. 

3.  Yellow  ochre  is  also  a natural  earth,  which  becomes  red 
if  you  burn  it. 

4.  The  obscure  yellow,  or  yellow  ochre,  which  is  also  a na- 
tural earth,  and  slimy,  is  to  be  got  by  the  streams  ofiron  mines. 
It  receives  a fine  colour  from  calcination. 

5.  Naples  yellow,  is  a sort  of  filth,  which  gathers  round  the 
mines  of  brimstone  ; and  though  it  be  used  in  fresco  paintings, 
its  colour  nevertheless,  is  not  so  good  as  that  which  is  made  of 
^arth,  pr  yellow  ochre  and  white  mixed  together. 

H 2 


82 


SECRETS  IN  ARTS,  TRADES,  &c. 


6.  The  purple  red  is  a natural  earth,  the  product  of  Eng- 
land, and  is  used  instead  of  lake. 

7.  The  tervete  from  Verona  in  Lombardy,  is  a natural  earth, 
which  is  very  hard  and  dark.  There  is  also  another  sort  of 
feruerte. 

8.  The  ultramarine,  or  lapis  lazuli , is  a hard  stone,  and  of  a 
difficult  preparation.  This  colour  subsists  and  keeps  itself  fine 
much  longer  than  any  other  colour.  It  is  not  to  be  ground, 
but  diluted  only  on  the  pallet  with  oil.  As  it  is  very  dear, 
you  may  spare  using  it  in  fresco-^ aintings,  and  supply  it  by 
smalt,  which  answers  the  same  purpose,  particularly  in  skies. 

9.  Smalt  is  a blue-colour,  which  has  a very  little  substance. 
It  is  used  in  great  landscapes,  and  stands  very  well  the  open 
air. 

10.  Umber  is  an  obscure  earth.  It  requireth  to  be  calcined 
in  an  iron  box,  if  you  want  to  make  it  finer,  browner,  and  of  a 
better  look. 

11.  Cologn  earth  is  a sort  of  rusty  black,  which  is  apt  to  dis- 
charge, and  turn  red, 

12.  The  earthen  black,  is  a black  which  comes  from  Ger- 
many. There  is  another  sort  of  German  black,  which  is  a na- 
tural earth,  and  makes  a bluish  black,  like  that  of  charcoal. 
This  sort  of  black  is  that  which  is  used  for  making  printer’s  ink. 
There  is  another  still,  which  is  made  with  burnt  wine  lye. 

Such  are  all  the  colours,  which  are  preferably  to  be  used  in 
fresco- painting.  Grind  and  dilute  them  with  water.  Before 
beginning  to  work,  prepare  your  principal  colours,  and  put 
each  by  themselves,  in  small  gallipots.  It  is  necessary  to  know 
that  except  the  purple  red,  the  brown  red,  the  yellow  ochre,, 
and  all  the  blacks,  (those  particularly  which  have  passed  through 
-the  fire)  turn  paler  as  the  fresco  dries. 

CVI.  Directions  for  painting  in  oil  on  a wall. 

Method  1. 

You  must  when  the  wall  is  perfectly  dry,  give  it  two  oy 
three  coats  of  boiling  oil,  or  more,  if  necessary,  so  that  the  face 
of  the  wall  may  remain  greasy,  and  can  soak  in  no  more  ; then 
lay  another  coat  of  ficcative  colours,  which  is  done  as  follows. 
Grind  some  common  whitening,  or  chalk,  red  ochre,  and  other 
sorts  of  earth,  pretty  stiff,  and  lay  a coat  of  it  on  the  wall. 
When  this  is  very  dry,  then  draw  and  paint  on  it  whatever  you 
will,  observing  to  mix  a little  varnish  among  your  colours,  that* 
you  may  not  be  obliged  to  varnish  them  afterwards. 


SECRETS  IN  ARTS,  TRADES,  &c. 
CVII.  Method  2. 


83 


In  order  it  may  sooner  dry,  and  that  the  dampness  should 
not  occasion  the  colour  to  scale,  as  it  sometimes  happens,  on 
account  of  the  oil  which  resists  it,  make  a cement  with  lime 
and  marble  dust,  or  tiles  ; this  lay  on  the  wall  with  a trowel, 
smoothen  it,  and  then  give  it  a coat  of  lintseed  oil,  with  a large 
brush.  In  the  next  place,  prepare  a composition  of  Greek 
pitch,  mastich,  and  coarse  varnish,  which  boil  altogether  in  a 
pipkin,  and  lay  afterwards,  first  with  a brush,  then  smoothen 
with  a hot  trowel,  in  order  to  spread  it  more  equally.  When 
this  is  done,  lay  on  a coat  of  ficcative  colours  abovementioned, 
then  draw  their  design  and  paint. 

CVIII.  Method  3. 

Others  again  make  a cement,  or  mortar,  with  lime,  brick* 
dust  and  sand.  And  when  this  is  dry,  make  another  with  lime, 
sifted  brick  dust  and  smith’s  embers,  or  iron  scum,  all  in  equal 
quantities  Beat  and  incorporate  together,  with  whites  of  eggs 
and  lintseed  oil,  and  it  will  make  so  strong  a cement  as  cannot 
be  equalled  by  any  thing.  Its  nature  is  such,  that  while  you 
are  laying  it  on,  you  must  not  stop  and  leave  it  till  you  have 
finished,  otherwise  it  will  assuredly  crack  in  every  one  of  those 
places  where  you  resumed  your  work.  Therefore  go  on,  till 
the  whole  wall  is  entirely  covered  with  it,  and  totally  polished. 
And  when  dry,  lay  the  abovementioned  coat  of  ficcative  co- 
lours, and  proceed  according  to  the  other  directions. 

CIX.  Directions  for  fainting  in  oil  on  wood. 

Lay  first  one  coat  of  size  on  the  wood  ; then  another  o§ 
whitening  diluted  with  size,  then  another  again  of  boiling  oil. 
When  this  last  is  thoroughly  dry  ,you  draw  your  design  and 
paint  as  usual. 

CX.  Directions  for  fiainting  in  oil  on  canvas. 

1.  Chuse  a fine  and  smooth  tick  or  cloth,  which  nail  on  a 
frame.  Pass  over  it  first  a coat  of  size,  and  when  dry,  rub  it 
over  with  a pounce  stone  to  eat  off  all  the  knobs  and  knots. 
The  size  which  you  put  first  on  the  cloth  is  intended  to  lay 
down  all  the  threads,  and  fill  up  all  the  small  holes,  that  the 
colour  may  not  pass  through. 

2.  When  the  cloth  is  dry,  lay  on  a coat  of  simple  colour, 
which  may  not  destroy  the  others;  for  example,  brown  red* 


§4 


SECRETS  IN  ARTS,  TRADES,  Sec. 


which  is  a natural  earth,  full  of  substance  and  lasting.  You 
may  mix  it,  if  you  like,  with  a little  white  lead,  it  will  dry  the 
sooner.  To  grind  this  colour,  they  use  nut,  or  lintseed  oil,  and 
in  order  to  lay  it  as  thin  as  it  is  possible,  they  use  a large  knife 
made  on  purpose. 

3.  When  this  colour  is  dry,  you  are  to  rub  it  again  with  the 
pounce  stone,  to  render  it  smoother.  Then  lay  another  coat 
of  white  lead  and  charcoal  black,  to  render  the  ground  grey- 
ish. In  this  as  well  as  the  preceding  coats,  you  must  take 
care  to  put  as  little  colour  as  you  possibly  can,  to  prevent  the 
cloth  from  cracking,  and  for  the  better  preservation  of  the  co- 
lours which  are  to  belaid  afterwards  in  painting.  For  it  is 
proper  to  observe,  that  could  there  be  no  ground  at  all  laid  on 
the  canvas  of  a picture,  previous  to  the  painting  of  it,  and 
should  one  paint  directly  on  the  bare  cloth  without  any  other 
preparation,  the  colours  would  appear  much  more  to  their  ad- 
vantage, and  preserve  their  brightness  much  longer.  A proof 
of  this  assertion  may  be  found  in  the  practice  of  Paul  Veronese 
and  Titian , who  used  to  impregnate  their  canvas  with  water 
colours  only,  and  paint  afterwards  in  oil  over  that  ground. — 
This  custom  has  not  a little  contributed  to  render  their  pieces 
more  lively  and  bright,  because  the  ground  in  water  colours 
draws  and  soaks  the  oil  off  the  colours,  which  must  render  them 
much  liner,  as  the  greatest  cause  of  their  dulness  arises  only 
from  the  oil,  with  which  they  are  diluted. 

4.  They,  therefore,  who  wish  to  see  their  works  keep  bright 
and  lively,  use  as  little  oil  as  possible,  and  keep  their  colours 
more  stiff,  mixing  a little  oil  of  spike  amongst  them,  which  in-* 
deed  vaporises  very  soon,  but  assists  in  rendering  them  more 
fluid  and  tractable  in  working. 

5.  Another  cause  of  the  colours  not  keeping  a long  while 
their  beauty  is,  when  they  are  too  much  tormented  on  the  pal- 
let, as  it  often  happens  that  painters  confuse  them  in  work- 
ing. Whenever  this  is  the  case,  they  must  needs  be  hurt,  as 
there  are  many  which  adulterate  and  otherwise  corrupt  the 
others,  and  spoil  the  vivacity  of  their  teint.  We  cannot  re- 
commend too  much  to  be  cautions  and  clean  in  employing 
them,  taking  care  to  lay  them  as  distinct  and  separate  as  pos- 
sible, each  by  themselves,  on  the  pallet,  without  mixing  them 
too  much  with  the  brush  or  pencil.  Never  mingle  together 
those  colours  which  are  enemies  to  each  other,  as  all  the  blacks 
are,  particularly  the  lampblack  ; but  as  much  as  possible  try 
to  use  them  separately.  When  there  is  occasion  of  giving 
more  strength  to  some  parts  of  a picture,  stay  till  it  is  dry  be- 
fore you  touch  it  up  again,  if  those  colours  are  obnoxious  to 
the  others  with  which  you  are  to  do  it.  There  he  shews  his 
judgment  in  painting,  who  is  not  precipitate  in  laying  his  co r 
Ipurs  on  his  pictures,  but  lays  them  thick  enough,  and  covers 


SECRETS  IN  ARTS,  TRADES,  See.  S3 

at  several  times  the  carnations,  which  in  terms  of  art  is  called 

empater . 

6.  As  to  what  concerns  the  first  laying  of  grounds  on  can- 
vas, in  water  colours,  it  is  a method  not  commonly  practised, 
because  they  may  scale,  and  cannot  be  rolled  without  some 
difficulty.  For  this  reason,  the  custom  prevails  of  grounding 
the  canvas  with  oil  colours.  But  when  the  canvas  is  good  and 
very  fine,  the  less  colour  you  can  lay  on  for  that  purpose  the 
better.  Take  care  only  those  colours  and  oils  are  good.  The 
lead  which  some  painters  use  to  help  their  colours  to  dry  the 
sooner,  soon  destroys  their  brightness  and  beauty. 

CXI.  Which  colours  are  used  for  the  above  purpose. 

1.  Though  all  the  different  sorts  of  colours  which  are  used 
in  painting  in  oil  are  not  fit  for  that  called  fresco , yet  it  is  true, 
that  (except  lime  and  marble  dust,  which  cannot  strictly  be 
called  colours,)  every  one  of  those  used  in  fresco  are  good  in 

oil. 

2.  White  lead  is  made  with  lead  which  you  bury.  Several 
years  after,  this  lead  turns  into  some  sorts  of  flakes,  which  are 
of  a very  fine  white.  Though  this  white  exists  in  painting, 
and  is  in  positive  use,  it  has,  however,  a very  bad  quality, 
which  the  oil  corrects  a little  when  you  grind  it  on  the  stone. 

3.  Ceruse,  or  flake  white,  is  a sort  of  rust  gathered  from 
lead,  but  of  a coarser  nature  than  the  other. 

4.  Massicot ; there  are  two  sorts  of  this  colour.  The  one  is 
yellow,  and  the  other  is  white.  It  is  made  with  calcined  lead. 

5.  Orpine,  otherwise  auripigment.  Is  used  calcined  and 
non-calcined.  To  calcine  it,  they  put  it  in  an  iron  box,  or  in 
a pot  well  stopped.  But  few  either  calcine  it,  or  even  use  it 
at  all,  as  the  fumes  are  mortal,  and  it  is  very  dangerous  to  use 
it. 

6.  Black  lead  comes  from  lead  mines.  They  make  very  lit- 
tle use  of  it,  because  it  is  a bad  colour  of  itself,  besides  that, 
it  is  a great  enemy  to  the  others. 

7.  Cinnabar,  or  vermilion,  is  drawn  from  the  mines  where 
they  gather  quick-silver.  As  it  is  a mineral,  it  is  the  reason 
why  it  does  not  resist  the  impression  of  the  air,  nor  the  injuries 
of  the  weather. 

8.  Lake  This  colour,  which  is  an  artificial  made  one,  is 
composed  with  cochineal,  or  with  scarlet  flocks  ; or  again, 
Brasil  wood,  and  some  other  sorts  of  woods.  There  are  seve- 
ral sorts  of  lake  made.  It  does  not  stand  the  weather, 

9.  Blue  verefiture  and  green  verditure  is  very  seldom  used  in 
any  other  works  but  landscapes. 

10.  Indigo.  This  colour  is  generally  used  for  making  skies, 
or  draperies ; when  properly  used,  its  keeps  its  beauty  a great 


16 


SECRETS  IN  ARTS,  TRADES,  &g. 


while.  You  must  not  mix  it  with  too  great  a quantity  of  oil, 
but  lay  it  a little  thick  and  dark,  because  it  discharges  very 
much.  They  use  it  with  great  success,  diluted  with  gum  wa- 
ter. It  is  a good  colour  for  the  composition  of  greens. 

11.  Brown  pink,  otherwise  called  stil-de grain.  This  colour 
is  drawn  from  what  is  called  French  berries,  which  they  soak 
and  boil,  then  mix  the  result  with  vine-wood  ashes,  or  calcined 
'white  chalk,  to  give  it  a proper  consistence.  When  this  is 
done,  it  must  be  strained  through  a very  fine  cloth. 

12.  Lampblack.  This  is  a bad  colour,  but  handy  to  paint 
black  draperies. 

13.  Ivory  black.  This  black  is  made  indifferently  with  com- 
mon bones,  as  wed  as  ivory  burnt.  jdppelies  discovered  this 
sort  of  black,  if  we  believe  Pliny , book  xxxv.  chap.  5. 

14.  Verdigrease  is  the  most  pernicious  of  all  the  colours, 
and  capable  to  ruin  a whole  picture,  if  there  were  never  so  lit- 
tle in  the  colour  with  which  the  canvas  is  first  impregnated. — 
It  is  however  of  a very  agreeable  look.  They  sometimes  cal- 
cine it  to  prevent  its  malignant  effect  ; but  it  is  as  dangerous 
to  use  it  that  way  as  orpine  ; and  it  is  an  undoubted  truth  that, 
however  well  prepared  it  may  be,  it  must  be  employed  by  it- 
self, for  it  would  spoil  all  the  colours  with  which  it  may  be 
mixed.  It  dries  very  much,  and  for  that  purpose  they  mix  a 
little  of  it  with  the  blacks,  which  can  never  dry  without  some 
assistance. 

N.  B.  You  must  be  very  careful  never  to  use,  for  other  co- 
lours, the  pencils  with  which  you  shall  have  laid  any  verdi- 
grease* 

15.  There  are  again  some  other  sorts  of  compound  colours 
which  are  never  used  but  in  oil. 

CXII.  Which  oils  are  used  in  painting. 

1.  The  best  oils  which  are  used  in  painting  are  those  of  nut 
and  lintseed.  To  render  the  colours  more  fluid,  and  spread 
more  easily  under  the  pencil,  they  use  also  oil  of  spike.  This 
oil  absorbs  itself  in  the  canvas,  and  leaves  the  colours  without 
any  gloss.  It  is  made  with  the  flowers  of  a plant  called  spike- 
nard, or  lavender  spike. 

2.  There  is  another  oil  drawn  from  Melezian  rosin,  firs,  &c. 
wherefore  it  is  called  oil  of  turpentine.  This  oil  is  very  good 
for  touching  up  pictures  ; but  it  it  is  chiefly  good  for  mixing 
with  ultramarine,  and  the  different  sorts  of  smalts,  because  it 
serves  to  make  them  spread  with  more  facility,  and  evaporates 
almost  immediately.  When  you  make  use  of  this  oil,  the  less 
there  is  of  any  other  oil  in  the  colour  the  better,  as  they  all 
serve  only  to  make  it  turn  yellow. 


secrets  in  Arts,  trades, 

S*  There  are  other  oils  again  which  are  denominated  ficca* 
tive  oils,  because  they  serve  to  dry  up  the  others  the  sooner. 
These  are  many  in  number  and  species.  One  sort  is  nothing 
but  the  oil  of  nut,  boiled  with  gold  litharge  and  a whole  onion 
peeled,  which  is  taken  off  after  boiling ; this  onion  serving  only 
to  exsiccate  the  greasy  parts  of  the  oil,  and  to  clarify  it.  Ano- 
ther sort  is  made  with  azure  in  powder,  or  smalt,  boiled  in  oil 
of  nut.  When  the  whole  has  boiled,  you  must  let  it  settle, 
and  then  skim  off  the  top.  It  is  fittest  for  diluting  the  white, 
and  such  of  the  other  colours  as  you  want  to  preserve  purest 
and  neatest. 

CXXXI.  To  take  off  instantly  a copy  from  a print , or  a 
picture . 

Make  a water  of  soap  and  alum,  with  which  wet  a cloth  or 
a paper  ; lay  either  on  a print  or  picture,  and  pass  it  once  un- 
der the  rolling  press  ; then  going  round  the  other  side  to  take 
it  up,  you  will  have  a very  fine  copy  of  whatever  you  shall  have 
laid  it  upon. 

GXIV.  Directions  for  making  the  Spanish  carnation . 

Take  bastard  saffron,  wash,  dry,  and  grind  it  well.  While 
you  grind  it,  put  in  four  ounces  of  pearl  ashes  to  everyone 
pound  of  saffron.  Incorporate  them  well  both  together,  and 
throw  it  into  a double  cloth  jelly  bag.  Then  set  half  a pint  of 
Spanish  lemon  juice  on  the  fire,  and  when  just  lukewarm,  pour 
it  on  the  saffron  in  the  bag,  and  lay  under  it  what  you  want  to 
dye.  The  stuff'  which  is  to  be  dyed  ought  previously  to  have 
been  boiled  in  alum  water,  then  rinsed  and  wiped  between  two 
cloths,  as  a preparatory  process  to  make  it  take  the  dye  better. 

CXV.  To  make  the  Spanish  ladies  rouge. 

Vermilion,  carefully  laid  on  a sheet  of  paper,  from  which, 
by  means  of  wetting  the  tip  of  your  finger  with  your  spittle, 
then  take  it  off  at  will,  and  rub  your  cheeks,  lips,  &c.  The 
method  of  making  it  is  as  follows. 

1.  Take  good  scarlet  flocks  and  spirit  of  wine,  or  in  their 
stead,  lemon  juice.  Boil  the  whole  in  an  earthern  pot,  well 
glazed  and  well  stopped,  till  the  spirit  of  wine,  or  lemon  juice, 
has  charged  itself  with  all  the  colour  of  the  scarlet  flocks.— » 
Strain  this  dye  through  a cloth,  and  wring  it  hard,  to  express 
well  all  the  colour  out.  Boil  it  afterwards  with  a little  arabic 
water,  till  the  colour  becomes  very  deep. 


SECRETS  IX  ARTS,  TRADES,  8cc. 


2.  On  half  a pound  of  scarlet  flocks  you  must  put  four 
ounces  of  spirit  of  wine,  and  a sufficient  quantity  of  water,  to 
soak  well  the  flocks.  Then  in  the  colour  you  extract  from  it, 
put  the  bulk  of  a filbert  of  gum  arable,  and  boil  the  whole  in  a 
silver  porringer.  When  this  is  ready,  as  we  said  before,  pro- 
ceed as  follows. 

3.  Steep  some  cotton  in  the  colour,  and  wet  some  sheets  of 
paper  with  it ; then  let  them  dry  in  the  shade.  Repeat  this 
wetting,  drying  of  the  same  sheets  over  again,  many  times,  till 
you  find  they  are  charged  with  rouge  to  your  satisfaction. 

CXVI.  A Jine  lake , made  with  shell-lac . 

1.  Boil  and  skim  well,  sixteen  pounds  of  chamber-lye;  then 
put  in  one  pound  of  fine  shell-lac,  with  five  ounces  of  roch 
alum,  in  powder.  Boil  all  together,  till  you  see  the  chamber- 
lye  is  weil  charged  with  the  colour,  which  you  may  easily 
know  by  steeping  a bit  of  white  rag  in  it ; then  take  it  out 
again,  to  see  whether  or  not  the  colour  please  you  ; and  if  it 
do  not,  let  it  boil  longer,  repeating  the  same  trial,  till  you  are 
perfectly  satisfied. 

2.  Throw  now  the  liquor  in  a flannel  bag,  and  without  suf- 
fering what  runs  into  the  pan  under  to  settle,  repour  it  into 
the  bag  so  many  times,  till  the  liquor  runs  at  last  quite  clear 
and  not  tinged.  Then  with  a wooden  spatula,  take  off  the 
lake,  which  is  in  form  of  curd,  form  it  into  small  cakes,  or 
balls,  and  dry  them  in  a shade  on  new  tiles;  then  keep  them 
for  use. 

CXVI I.  Directions  to  make  cinnabar ? or  vermilion . 

1.  Put  mercury  (or  quicksilver)  in  a glazed  dish.  Set  it  on 
a sand  bath,  and  let  it  be  well  surrounded  with  the  sand  every 
way.  Pour  some  melted  brimstone  over  it,  and  with  an  iron 
spatula  keep  constantly  stirring,  till  the  whole  is  converted  into 
a black  powder. 

2.  With  this  powder,  fill  the  quarter  part  of  a retort  with  a 
short  and  wide  neck.  Plaee  it  first  on  a fire  of  cinders.  In- 
crease the  fire  by  degrees,  and  continue  it  for  ten  hours ; after 
which,  make  a blasting  one  for  twelve  hours. 

3.  Observations. — By  the  first  fire,  there  will  arise  a black 
fume.- -By  the  second,  a yellow.-  And  by  the  last,  a red; 
which  signifies  the  perfect  accomplishment  of  the  cinnabar. — 
As  soon  as  this  is  the  case,  let  the  vessel  cool,  and  you  will 
find  in  the  receiver,  and  in  the  neck  of  the  retort,  a very  fine 
cinnabar. 

N.  B.  Many,  instead  of  a glass  retort,  use  earthen,  or  stone 


SECRETS  IN  ARTS,  TRADES,  &c. 


8$ 


which  all  equally  bear  the  fire.  Make  a slow  fire,  for  about 
half  an  hour,  then  increase  it  till  the  red  fumes  arise.  Both 
methods  answer  the  same  purpose. 

CXVIII.  Another  method  of  making  cinnabar . 

!.  Melt  brimstone  in  a pipkin  over  a slow  fire,  then  take  it 
out,  and  with  one  hand  squeeze  a knot  of  mercury  between 
your  fingers  through  a cloth  into  the  melted  sulphur ; and  with 
the  other,  stir  well  till  the  lump  is  become  quite  cold  and 
black. 

2.  Put  this  into  a subtile  powder,  with  which  having  filled 
the  fourth  part  of  a very  long  retort,  lute  it  well,  and  very  ex- 
actly, with  a good  lute.  Place  it  next,  without  a receiver, 
for  two  or  three  hours,  on  a very  mild  fire ; then  introduce  in- 
to the  retort  a long  funnel,  which  will  reach  to  the  bottom  of 
the  retort,  through  that  funnel  pass  a long  spatula,  which 
touching  also  the  bottom  of  the  retort,  should  come  out  of  the 
funnel  five  or  six  inches.  In  the  middle  of  the  spatula  let  there 
be  a bung  of  lute  round  it,  well  dried,  which  will  stop  so  well 
the  retort  as  to  prevent  it  from  breathing  any  air.  When  all 
this  is  done,  push  on  the  fire  to  a pretty  smart  degree,  and  keep 
it  for  five  hours. 

3.  At  the  end  of  this  terra,  draw  out  the  spatula,  and  intro- 
duce, through  the  same  way  that  it  came  out,  two  spoonfuls, 
or  thereabouts,  of  your  prepared  powder  of  brimstone  and 
quicksilver,  with  which  you  intend  to  make  cinnabar,  which 
for  that  purpose,  have  kept  warm  in  a vessel  by  the  corner  of 
the  fire,  that  it  may  not  cool  the  retort  in  going  in,  and  there- 
by retard  the  operation. 

4.  Continue  so  to  do,  adding  every  hour  new  matter,  by 
means  of  the  drawing  out  the  spatula  to  introduce  the  new 
powder,  and  replacing  it  quickly,  till  you  have  increased  your 
lump  of  cinnabar  to  the  quantity  of  one  hundred  weight.  The 
spatula’s  use  in  the  neck  of  the  retort  is  to  prevent  its  filling 
itself  up  by  the  sublimation  of  the  matter,  which  would  occa- 
sion two  evils,  that  of  breaking  of  the  retort,  and  of  preventing 
the  introduction  of  new  powder  to  increase  the  lump  of  cinna- 
bar. So  that  at  the  same  time  it  keeps  a free  passage  into  the 
retort,  it  nevertheless  stops  it  too,  by  means  of  the  bail  of  lute 
which  is  round  it.  But  in  the  last  place,  in  order  there  should 
remain  no  vacancy  in  the  middle  of  the  cinnabar-lump,  take  off 
the  spatula  for  the  last  time,  and  inject  fresh  powder;  then, 
without  reintroducing  the  spatula,  stop  the  retort  with  a lump 
of  lute  only.  Thus  the  longer  you  keep  the  fire  up,  the  hard- 
er and  redder  the  lump  of  cinnabar  becomes. 

5.  Observations.— This  cinnabar  is  the  very  same  which 
empirics  use  in  fumigation,  along  with  aloes  wood,  myrrh,  and 


90 


SECRETS  IN  ARTS,  TRADES,  kc. 


other  aromatics,  to  excite  the  mouth,  or  belly  flux,  which  they 
reiterate  two  or  three  times,  or  till  that  flux  is  abundant  enough 
to  procure  the  cure  of  the  venerai  disorder.  It  is  the  same  al- 
so which  painters  make  use  of,  and  which  enters  into  the  com- 
position of  sealing-wax. 

CXIX.  An  azure  as  fine  as and  which  looks  similar  to , 
ultramarine. 

Grind  well  together  into  powder  three  ounces  of  ammoniac 
salt,  and  six  of  verdigrease.  Then  wet  it  in  continuing  to  grind 
it  with  oil  of  tartar,  till  you  have  made  it  pretty  fluid,  ^ Put 
this  into  a glass  matrass,  and  bury  it  five  days  in  hot  dung. — 
At  the  end  of  that  term  you  will  find  your  composition  turned 
into  a fine  azure. 

CXX.  The  same , as  practised  in  Germany. 

1.  Distil  in  an  alembic,  one  pound  of  vitriol,  half  a pound  of 
nitre,  and  three  ounces  of  cinnabar.  In  this  water  put  tinsel  or 
copper;  they  will  dissolve.  When  the  dissolution  shall  be 
perfected,  add  a sufficient  quantity  of  calcined  pewter  to  ren- 
der your  liquid  quite  milk  white.  Let  the  whole  rest  for  three 
days,  and  then  you  will  have  a middling  azure. 

2.  The  liquor  which  stills  from  the  vitriol,  cinnabar  and  ni- 
tre, has  the  power  to  dissolve  any  sort  of  metal  whatever.  It 
has  again  this  additional  virtue,  that  if  you  rub  the  forehead  of 
ahorse  with  it,  the  hair  will  instantly  turn,  and  remain  white 
at  that  place. 

§ IX.  PREPARATION  OF  THE  LAPIS  LAZULI,  TO  MAKE 
ULTRAMARINE. 

CXXI.  1st. -The  general  manipulation  of  the  whole  pro- 
cess : each  single  part  of  ’which  shall  be  treated  of  in 
particular  a filer  wards. 

1.  Take  one  pound,  or  whatever  quantity  you  please,  of  la- 
pis lazuli.  Let  your  stones  be  well  chosen,  and  of  that  sort 
which  are  streaky  with  gold.  Try  their  quality  whether  good 
or  bad,  which  is  done  thus.  Break  one  bit  of  it,  set  it  on  red 
hot  coals,  and  blow  as  hard  as  you  can  for  an  hour,  then  take 
it  off  and  let  it  cool.  If  in  touching  it,  it  drop  like  mould  or 
dust,  it  is  a sign  it  is  not  worth  any  thing  ; but  if  it  remains 
hard,  and  preserves  its  colour,  it  is  good.  When  you  have 
thus  made  yourself  sure  of  the  quality  of  the  stone,  break  it  all 


SECRETS  IN  ARTS,  TRADES,  &c. 


91 


m small  knobs,  put  them  in  a crucible  on  a melting  fire,  which 
by  strength  of  bellows  you  push  on  for  an  hour  and  a quarter. 
Then  throw  them  into  the  strongest  double  distilled  wine  vine- 
gar. When  they  are  thus  extinguished,  take  them  out  to  dry, 
and  prepare  the  following  water. 

2.  Boil  a little  raw  white  honey,  with  two  pints  of  water,  in 
a glazed  pipkin.  Skim  it  so  long  as  there  comes  any  scum  on 
it;  then  take  it  off  to  cool ; and,  when  cold,  dissolve  in  it  the 
bigness  of  a nut  of  the  best  dragon’s  blood,  reduced  into  a sub- 
tile powder.  Run  this  dissolution  through  a white  cloth  into 
a glazed  earthern  pot.  Observe  to  make  your  water  (with  that 
dragon’s  blood)  neither  too  red,  nor  too  clear,  but  to  keep  a 
just  medium  between  both,  that  the  azure  may  take  a finer 
hue.  With  this  liquor  grind,  for  the  space  of  an  hour  and  a 
half,  the  abovementioned  lapis  laxuli,  then  gather  it  into  a 
large  glazed  vessel,  let  it  dry  in  the  shade,  but  guard  off  the 
sun,  otherwise  it  will  undoubtedly  lose  its  colour  When  it 
is  perfectly  dry,  grind  it  a-new  into  a very  fine  powder,  then 
pack  and  keep  it  tied  very  closely  in  fine  white  linen.  Then 
proceed  to  the  following  paste. 

3.  Take  two  ounces  of  the  best  white  rosin,  an  equal  quan- 
tity of  Greek  pitch,  and  the  same  quantity  again  of  mastich, 
lintseed  oil,  turpentine,  and  virgin  wax.  Powder  what  is  pow- 
der.able,  and  cut  small  what  is  not.  Put  all  into  a new  glazed 
pipkin,  and  boil  it  to  perfection  ; which  you  know  by  letting  a 
drop  fall  into  cold  water,  and  taking  it  out  with  your  fingers. 
For  if  it  do  not  stick  to  your  fingers,  it  is  done  to  perfection. 
When  it  is  done  to  perfection,  run  it  quite  hot  through  a sheer 
cloth  into  a pan  of  cold  water,  wherein  leave  it  till  perfectly 
hard;  then  take  it  out  and  let  it  dry.  When  you  want  to  in- 
corporate it  with  the  powder,  proceed  as  follows. 

4.  Cut  this  paste  into  small  bits,  and  put  it  to  melt  over  the 
fire  in  a well  tinned  saucepan.  When  the  contents  come  to 
make  a noise,  throw  in  two  ounces  of  oil  of  bitter  almonds, 
and  let  it  boil  for  about  ten  minutes.  In  the  mean  while  have 
your  lapis  lazuli  powder  ready  in  a vessel,  then  pour  over  it 
gently,  and  little  at  a time,  what  is  boiling  in  the  pipkin,  ob- 
serving to  stir  carefully  while  you  pour,  in  order  to  incorporate 
well  this  liquid  with  the  powder,  which  being  done  let  the 
whole  cool.  Then,  having  rubbed  your  hands  with  oil  of 
olive,  take  this  composition  and  work  it  well  in  order  to  incor- 
porate all  perfectly  ; and,  after  having  given  it  the  form  of  a 
loaf,  put  it  in  a glazed  vessel  to  keep  it  for  use. 

5.  When  you  want  to  draw  the  azure  from  it  (which  must 
not  be  less  than  twelve  days  after  this  last  operation)  begin  first 
by  making  a strong  lye  with  vine  wood  ashes,  which  you  strain 
through  a flannel  bag,  to  get  it  very  clear.  Then,  putting  it 
in  a copper  boiler,  on  the  fire,  till  it  is  so  hot  not  to  be  able 


■92 


SECRETS  ARTS,  TRADES,  &.C. 


to  keep  the  hand  in  without  scalding,  you  pour  some  of  it  on 
what  quantity  of  the  above  paste  you  please,  to  extract  the 
azure  from,  and  stir  it  gently  till  it  begins  to  come  out.  When, 
by  thus  stirring  your  paste  in  this  lye,  this  last  is  become  well 
charged  with  the  colour,  decant  it  out  with  another  glazed  ves- 
sel? of  which  sorts  of  vessels  you  must  have  a good  provision 
ready.  Then  pour  again  some  more  warm  lye  on  your  paste? 
and  work  it  the  same  as  before,  till  this  new  lye  seems  suffi- 
ciently charged  with  teint,  and  decant  it  out  again  into  another 
well  glazed  vessel.  Pour  new  warm  lye  again  on  your  paste, 
and  proceed  as  before,  continuing  so  to  do  till  the  paste  gives 
no  more  teint  to  the  lye. 

6.  Ohser  e,  that  when  the  lapis  is  good,  you  lose  but  four 
ounces  of  it  out  of  one  pound,  and  that  you  extract  twelve 
ounces  of  azure  in  the  following  proportion.  Five  ounces  of 
very  fine  ultramarine,  by  the  first  wadies ; four  middling,  out 
of  the  second  , and  three  base  ones,  by  the  last.  Each  of  the 
different  qualities  must  be  kept  separately,  and  washed  in  sev- 
eral clear  lyes,  by  changing  them  from  vessel  to  vessel  several 
times,  with  new  lye  each  time.  And  when  they  seem  to  you 
very  bright,  put  them  a-drying  in  a shade,  but  not  in  the  sun? 
in  a room  perfectly  free  from  dust. 

7.  When  it  is  dried,  take  a glass  of  brandy,  in  which  you 
have  put  a soaking  a little  Brasil  wood,  and  asperge  the  ultra- 
marine  with  that  tinged  brandy,  stir  it,  and  let  it  dry  ; renew' 
the  aspersion  for  two  or  three  days,  till  the  azure  participates 
a little  of  this  teint.  When  it  is  well  dried,  for  the  last  time, 
you  will  find  it  to  be  of  a most  beautiful  hue.  Then  put  it  in 
small  leather  bags,  and  keep  them  well  tied. 

CXXII.  2d.  Directions  to  be  observed  in  the  process 

of  preparing  the  strong  cement  in  which  the  lapis  la- 
zuli is  to  be  incorporated , to  draw  afterwards  the 

azure  from  it. 

1.  Take  first,  clear  and  neat  Venetian  turpentine,  four  oun- 
ces; fine  white  rosin,  six;  fine  Greek  pitch,  as  much;  clear 
and  pure  mastich,  three  ; fine  shining  white  wax,  an  equal 
quantity  ; purified  lintseed  oil,  one  and  a half.  Then  have  a 
well  glazed  pipkin,  quite  new  ; put  in  it  first  the  turpentine, 
and  set  it  on  a small  and  mild  charcoal  fire.  Stir  it  with  a 

wooden  spatula,  like  that  of  apothecaries,  till  it  is  well  liqui- 

fied ; introduce,  next,  the  rosin  to  it,  by  little  and  little  at  a 

time,  and  incorporate  it  well  ; w1 * * * * * 7hen  this  is  done,  add  the 

Greek  pitch  to  it,  in  the  samemanner,  then  the  mastich  in  pow- 

der, at  three  or  four  times ; then  the  wax  cut  very  small,  also 

by  degrees,  and  stir  well  tilt  the  whole  is  perfectly  incorpora* 


SECRETS  IN  ARTS,  TRADES,  &c. 


93 


ted  together.  Above  all,  take  care  to  do  this  with  a slow  fire, 
otherwise  these  matters  will  undoubtedly  burn,  as  they  are  of 
an  inflammable  nature.  At  last,  put  the  lintseed  oil,  and  set 
the  pot  on  the  Are,  and  let  the  composition  simmer  till  the 
cement  is  quite  done,  which  you  know  by  the  following  ex- 
periment. 

2.  Turn  the  spatula  all  round  the  pot  in  the  composition, 
then  raising  it  out,  let  a drop  or  two  fall  into  a pan  of  cold  wa- 
ter. If  the  drop  spread  on  the  water,  the  composition  is  not 
done,  therefore  you  must  let  it  simmer  longer  on  the  fire.  If 
on  the  second  trial  the  drop  keep  in  one  lump,  the  matter  is 
done. 

3.  When  the  cement  has  acquired  a tolerable  degree  of 
coldness  in  the  water,  take  it  out  in  a lump  ; and,  with  your 
hands  imbibed  with  lintseed  oil,  prepared  and  purified,  as 
hereafter  directed,  for  fear  it  should  stick  to  them,  work  it  so 
well,  that  there  shall  remain  no  more  water  about  it.  When 
this  is  performed,  the  cement  is  perfectly  completed  ; and,  to 
preserve  it,  keep  it  perpetually  in  cold  water.  Therefore,  in 
summer,  you  must  change  that  water  every  day,  and  with 
such  precautions,  you  may  preserve  it  eight  or  ten  years  al- 
ways good  for  strong  cement, 

CXXIII.  Another  cement , of  a softer  nature . 

1.  Take  fine  Venice  turpentine,  four  ounces ; fine  white 
sin,  six  ; Greek  pitch,  as  much  ; fine  wax,  one  ; and  lintseed 
oil,  three  parts  of  an  ounce.  Prepare  this  cement  after  the 
same  way  as  the  other  ; and  observe  carefully  in  the  doing  of 
it  the  same  order. 

2«  Observe,  that  this  sort  of  cement  is  sooner  done  than  the 
first,  and  that  it  will  sooner  return  you  the  azure  than  the  first, 
which  is  harder,  will  do.  But  neglect  not,  if  you  intend  to 
work  the  lapis  lazuli  with  both  these  cements,  you  must  be- 
gin with  the  soft  first.  And  yet  you  are  not  to  be  kept  igno- 
rant, that  if  your  lapis  lazuli  be  not  of  the  best  sort  (which  is 
the  gold  streaked  sort)  you  must  guard  well  from  giving  it  the 
two  cements,  in  the  art  of  preparing  and  giving  the  cement 
or  cements,  consists  entirely  that  of  making  the  ultramarine 
azure  ; in  that  point  lies  all  your  gain  or  your  loss.  There- 
fore, take  great  care  to  do  it  well. 

CXXIV.  Directions  to  firejiare  ahdfiurify  the  Ihitseed 
oil  for  the  azure. 

1.  Take  whatever  quantity  you  will  of  fine  lintseed  oil,  of  a 
fine  saffron  or  gold  colour.  Put  it  in  a glass,  or  bullock’s  horn, 

I 3- 


94 


SECRETS  IN  ARTS,  TRADES,  kc. 


perforated  at  the  small  end.  Pour  over  this  oil  some  cold  wa- 
ter, ar-d  stir  it  well  with  a stick,  to  mix  it  well,  then  let  it  set- 
tle. When  the  oil  and  the  water  are  divided,  open  the  little 
hole  which  is  at  the  bottom  of  the  horn,  and  let  the  water 
cut.  Put  some  fresh  water,  and  repeating  the  same  process 
seven  or  eight  times,  till  the  water  runs  off  as  clear  as  you  first 
put  it  in. 

2.  Thus  your  oil  shall  be  perfectly  purified;  and  in  that 
state  you  may  keep  it  in  a well  stopped  glass  bottle  for  use. 

3.  The  oil  of  bitter  almonds  may  absolutely  supply  the  want 
©f  this  ; but  besides  its  being  dearer,  it  is  not  near  so  good  for 
the  purpose. 

Note . That  whenever  we  shall  speak  of  oil,  we  always  mean 
lintseed  oil  thus  prepared  and  purified. 

CXXV.  The  lye  to  wash  the  ultramarine  with . 

1.  Take  eight  or  ten  handfuls  of  pearl-ashes,  made  with  vine* 
wood  ashes.  Put  this  into  a box  perforated  at  the  bottom,  and 
large  enough  to  hold  a couple  of  pailfuls  of  'water.  Place  this 
basket,  and  set  it  so  that  the  water  cannot  run  out  of  it  with- 
out carrying  the  ashes  along  with  it.  Stop  the  hole  on  the 
outside,  before  putting  the  ashes  into  it,  and  press  these  down 
Very  hard,  then  pour,  by  degrees,  a pailful  of  warm  water  over 
these  ashes.  When  these  are  settled  again,  unstop  the  hole, 
and  put  a bung,  made  of  an  old  list  of  white  cloth,  through 
which  you  will  make  it  run  drop  by  drop  into  a pan.  Repeat 
this  distillation  again,  by  putting  this  same  lye  into  another 
perforated  box,  without  any  ashes,  and  stop  it  with  another 
bung  of  the  same  kind  as  the  first,  so  that  you  may  get  your 
lye  fine  and  dear  ; and  put  it  to  keep  in  a well  glazed  vessel, 
carefully  covered,  for  fear  of  the  dust. 

2.  Now  pour  another  similar  quantity  of  warm  water  on  the 
same  ashes  as  before ; proceed  exactly  with  this  second  water 
as  with  the  first,  and  keep  these  two  sorts  of  water  for  use. 

3.  Repeat  again  the  same  operation,  by  pouring  a third  pail- 
ful of  water  on  the  same  ashes,  and  proceeding  in  every  respect 
as  with  the  two  former,  you  will  be  possessed  of  three  sorts  of 
lye,  of  three  different  degrees  of  strength. 

4.  These  various  sorts  of  lyes  serve  to  wash  the  cement  or 
paste,  in  order  to  draw  the  azure  out,  after  the  method  here- 
after prescribed.  When  you  want  to  proceed  to  woik,  take  of 
these  three  different  sorts  of  lye,  and  mix  them  so  as  to  give 
them  the  due  degree  of  strength,  according  as  you  think  requi* 
site® 


SECRETS  IN  ARTS,  TRADES,  &c  95 

CXXVI.  Another  sort  of  lye  for  the  same  ] lurpose . 

There  is  another  sort  of  lye  which  can  be  made  to  cleanse 
the  cement  of  its  unctuosity  and  grease,  and  which  they  pre- 
pare in  the  following  manner. 

1.  Take  whatever  quantity  of  calcined  tartar  you  like. — ^ 
Boil  it  for  a quarter  of  an  hour  in  a clear  water.  Then  let  it 
settle,  and  decant  it  into  a glass  bottle,  stop  it  well,  and  keep 
it  for  use. 

2.  It  is  fit  for  taking  the  grease  off  the  cement  when  too 
unctuous.  Likewise  to  wash  all  the  ultramarine  with,  and 
thereby  heighten  its  colour. 

3.  This  lye  has  also  another  particular  quality,  which  is  that 
of  curing  the  mange,  the  itch,  and  other  cutaneous  disorders, 
by  washing  with  it.  It  purifies  and  whitens  the  skin  prodi- 
giously. 

CXXVTI.  Directions  for  the  choice  of  the  vessels  iiv 
which  the  most  impure  ultramarine  is  to  be  washed 7 
in  order  to  be  mixed  aferwards  with  the  other  azure. 

1.  The  vessel,  if  it  be  an  earthern  vessel,  should  be  well 
hardened  in  the  baking,  and  finely  glazed  in  the  inside,  or  if 
of  brass  or  copper,  should  be  of  a perfect  polish  all  round,  and 
at  the  bottom,  in  the  inside. 

2.  It  must  be  perforated  by  the  side  with  three  holes,  to  ad- 
mit  of  three  cocks,  one  toward  the  middle  part,  the  other  low- 
er, and  the  third  at  two  fingers  breadth  from  the  bottom. 

3.  Though  the  azure  matter  which  is  at  the  bottom  of  the 
vessel  appear  not  to  you  to  be  such,  let  it  rest  eight  or  ten  days, 
and  you  will  be  convinced  Of  the  contrary.  When  you  plain-* 
ly  perceive  somewhat  of  azure  at  the  bottom  of  the  water,  de- 
cant it  out  as  gently  as  possible  ; take  out  that  azure,  wash  if 
with  clean  water ; and  you  will  find  it  as  good  as  the  rest. 

CXXVTIX.  Observations  for  discerning  the  good  or  bad 
qualities  of  the  lapis  lazuli?/ro/?z  which  you  intend  t.o 
compose  ultramarine. 

1st  Trial.  Wet  first  the  lapis  la%iili  with  common  water, 
and  wrap  it  up  in  a piece  of  fine  white  cloth  or  serge.  It  will 
thereby  become  of  a fine  lustre,  and  purple  colour,  very  agree- 
able to  the  sight. 

c2d  Trial.  If  you  want  to  know  whether  or  not  it  be  fine, 
set  it  on  blasting  charcoals,  and  blow  them  continually  for  a 
good  while.  Then  take  it  off  from  the  fire.  If,  being  cold,  it 
kas  not  lost  much  of  its  colour,  it  is  fine  y but  if  it  has  lost  none 


96 


SECRETS  IN  ARTS,  TRADES,  &c. 


of  its  colour,  none  can  be  finer.  For  the  lapis  which  is  of  a 
superior  degree  of  fineness,  acquires,  instead  of  losing  colour, 
when  put  to  this  trial. 

3d  Trial . For  the  third  experiment,  put  the  lapis  a redden- 
ing on  an  iron  plate  over  the  fire;  then  extinguish  it  in  the  best 
double  distilled  white  wine  vinegar.  If  by  this  trial  it  acquire 
more  colour,  it  is  too  fine  ; if  it  only  keep  its  own  without  any 
alteration,  it  is  good  and  such  as  you  can  wish  to  have  it.  The 
lapis , which  on  that  trial  acquires  more  colour,  may  be  worth 
between  thirty  and  forty  shillings  an  ounce.  But  that  which 
keeps  its  own  natural  colour  after  trials,  is  really  scarce.  As  to 
that  which  loses  the  colour,  you  can  make  but  very  middling 
and  common  ultramarine  with  it. 

4th  T rial . When  you  buy  it  ready  reduced  into  powder  in 
order  to  know  whether  or  not  it  be  pure,  and  without  any  mix- 
ture. It  is  this;  put  some  of  this  powder  into  a goldsmith’s 
crucible ; set  it  on  a strong  fire  to  make  it  red  hot,  then  take  off 
the  crucible.  If  it  be  enamel,  you  will  find  it  melted,  but  if  it 
be  true  pulverised  lapis , it  will  remain  a powder.  If  there  be 
only  a mixture  of  enamel  with  the  pulverised  lapis  that  enamel, 
in  melting,  will  gather  up  all  the  lapis  powder,  and  when  cold, 
you  will  find  it  in  a little  cake  at  the  bottom  of  the  crucible. 
This  deception  is  very  common  among  colour  makers. 

Remarks . The  three  different  azures,  which,  by  means  of  the 
cements  abovementioned,  you  will  get  from  the  lapis , will  a- 
mount  altogether  to  fifteen  ounces  for  each  pound  of  lapis , that 
is  to  say,  ten  ounces  of  superfine  ultramarine,  which  will  sell 
for  twelve  or  thirteen  ducats  an  ounce;  three  ounces  of  medium 
which  will  sell  for  between  three  or  four  half  crowns,  and  two 
ounces  of  the  common  base  sort,  which  will  sell  for  one  half 
crown.  This  last  is  little  regarded,  and  is  called  ashy  ; but  it 
will  pay  you  for  the  expence  of  the  cement,  therefore  you  will 
easily  be  able  to  judge  of  the  clear  profit  you  can  make  out  of 
it.  If  you  employ  that  sort  of  lapis  which  loses  all  its  colour 
with  the  trial  of  the  fire  and  vinegar,  you  will  neither  get  so 
fine  ultramarine  from  it,  nor  so  much  in  quantity,  as  you  can 
from  the  other.  And  if,  as  will  be  mentioned  hereafter,  you 
attempt  to  refine  it,  it  will  lose  a great  deal  of  its  weight. 

CXXIX.  The  method  of  calcining  and  preparing  the  let- 
pis  lazuli , in  order  to  grind  it  afterward..* 

1.  Take  that  sort  of  lapis  lazuli  w hich  is  streaked  v/ith  gold 
veins,  and  which  has  undergone  the  abovementioned  trials. 
Break  it  in  small  bits,  no-  larger  than  a filbert.  Wash  them  in 
warm  water,  then  set  them  on  the  fire  in  a crucible  tili  red  hot. 
When  thus  reddened  take  them  out  one  by  one,  and  extinguish 


SECRETS  IN  ARTS,  TRADES,  &c. 


97 


them  in  double  distilled  white  wine  vinegar,  which  shall  have 
been  previously  run  through  a hat  three  or  four  times.  When 
thus  extinguished,  take  them  all  out  from  the  vinegar,  and  cal- 
cine them  a-new,  then  extinguish  them  as  before.  Repeat  this 
operation  six  or  seven  times,  that  they  may  more  easily  submit 
to  the  pestle  in  the  mortar,  and  npfc-st4ck  to  it. 

2.  As  for  the  lapis,  which  los^s  its  colour  by  the  fire,  you 
must  dispense  with  the  calcining  of  it,  for  as  it  would  lose  it 
more  and  more,  you  would  at  last  lose  both  you-  trouble  and 
and  your  money. 

S.  Therefore,  put  either  that  which  is  calcined,  or  that  which 
is  not,  in  a bronze  mortar  covered  over,  and  pound  it  well.  Sift 
it  through  the  silk  sive,  covered  also  with  its  lid,  that  the  most 
subtile  part  of  the  powder  should  not  evaporate,  as  it  is  the  best. 

CXXX.  Directions  for  making  the  liquor  fit  to  grind  the 
lafiis  with , in  order  to  make  the  ultramarine . 

1.  Take  three  half  pints  of  rain  water,  after  having  run  through 
a hat  three  or  four  times.  Put  into  a new  pipkin,  and  dilute 
as  much  raw  honey  in  it  as  will  render  the  water,  yellow;  boil 
it  till  it  ceases  to  give  any  scum,  which  take  care  to  throw  away 
as  fast  as  it  rises.  When  it  is  quite  clear  and  fine,  take  it  off 
the  fire,  bottle  it  for  the  following  use. 

2.  Have  fine  dragon’s  blood,  grind  it  on  a porphyry  stone 
with  the  above  prepared  honey- water;  put  this  when  well 
grinded,  into  another  bottle.  Over  it  pour  so  much  honey 
water,  till  it  acquires  a purple  colour.  Decant  it,  when  settled, 
from  the  ground,  and  keep  it  by  itself.  Such  is  the  sort  of  wa- 
ter which  is  to  be  used  to  grind  the  lapis  lazuli  with. 

3.  Observation.  Should  the  lapis  lazuli  from  which  you  in- 
tend to  draw  your  ultramarine,  shew  some  purple  colour  of  a 
remarkable  hue  and  beauty,  you  must  encourage  it  by  means 
of  the  abovementioned  honey-water,  which  manage  as  follows. 
As  the  degree  of  purple  you  are  to  aim  at,  ought  not  to  be  deep 
but  rather  pale  and  drawing  towards  the  flesh  more  than  the 
red,  if  the  colour  which  comes  from  the  lapis  should  be  too 
deep,  you  must  diminish  that  of  the  honey- water,  and  if  that 
of  the  stone  is  too  pale,  then  render  that  of  the  liquor  deepen 
By  these  means  you  may  make  these  three  sorts  of  colours  of 
what  degree  you  like,  by  giving  more  or  less  of  the  liquor,  and 
colouring  this  at  your  will  according  as  you  see  either  of  these 
proceedings  requisite  for  your  purpose. 

Note.  Chuse  dragon’s  blood  in  tears,  such  as  the  goldsmiths 
use,  not  that  which  is  in  powder* 


SECRETS  IN  ARTS,  TRADES,  kc, 


98 

CXXXL  The  method  of  grinding  the  lapis  lazuli  or. 
porphyry , and  the  signs  which  attend  it. 

1.  When  the  lapis  is  well  pounded  into  powder,  and  that 
powder  has  been  sifted  as  before  directed,  set  it  on  porphyry 
stone,  and  grind  with  the  mu  liar,  bathing  it  as  you  grind  it,  with 
the  honey  water,  by  little  and  little  at  a time.  Keep  your  pow- 
der on  the  stone,  in  as  small  a compass  as  you  can. 

To  grind  thus,  one  pound  of  pulverised  lapis,  you  must  di- 
vide it  into  three  parcels,  grind  one  of  each,  and  no  more  at  a 
time,  and  it  must  take  two  hours  grinding  at  least,  to  make 
money  of  it.  Take  care  to  keep  your  stone  wet  with  the  a- 
bove  prepared  honey  water  ail  about  your  paste,  that  this  should 
not  stick  to  the  Tor  e while  you  grind  it.  This  wetting  must 
take  in  ah  one  tumbler  full  of  the  liquor  for  the  whole  pound  of 
lapis  powder.  When  you  have  grinded  one  part  of  that  pound, 
take  it  out,  and  grind  the  second  on  the  same  spot  on  the 
stone,  the  next,  and  so  on,  as  long  as  you  have  any  to  grind  ; 
be  sure  in  grinding  it,  you  use  no  other  water  than  honey- 
water. 

2 To  know  whether  or  not  it  be  sufficiently  grinded,  take  a 
little  on  the  tip  of  your  finger,  and  mash  it  between  your  fore 
teeth.  If  you  do  not  feel  it  crack,  as  the  dry  powder  does,  then 
it  is  sufficiently  grinded.  Do  not  grind  it  too  much,  lest  it  should 
lose  its  colour,  which  happens  sometimes. 

3.  To  dry  the  lapis  after  it  is  grinded,  put  it  on  a clean  stone, 
and  set  it  to  dry  in  the  shade,  not  in  the  sun,  for  it  would  spoil 
it.  When  it  looks  as  if  it  were  dry,  touch  it  with  the  finger, 
and  if  it  rubs  into  powder  as  mould  or  dirt  would  do,  you  may 
leave  it  longer.  But  if  it  resist  the  finger,  and  do  not  break,  it 
is  time  to  take  it  off. 

4.  Then  comes  the  washing  of  that  ultramarine  azure,  which 
is  performed  as  follows.  Take  a china  bowi,  without  any  crack 
or  rivetting  whatever,  and  of  the  most  perfect  polish  or  glaze 
in  the  inside,  put  therein  your  dried  lump  of  paste.  Over  it 
pour  the  soft  lye  above  described,  and  let  it  surpass  the  lump 
in  the  bowl  by  four  fingers  breadth.  Then  wash  it  well  be- 
tween your  hands,  and  dilute  all  entirely  into  that  lye.  Wrhen 
this  is  done,  let  it  settle,  and  when  the  azure  is  entirely  preci- 
pitated at  the  bottom,  and  the  lye  swims  quite  clear  over  it,  de- 
cant it  out  gently,  by  inclination,  and  set  the  azure  a drying 
in  the  shade,  without  moving  it  from  the  bowl.  When  you 
find  it  pretty  dry,  take  it  out  carefully,  spread  it  on  the  por- 
phyry stone  to  finish  drying.  And  when  it  is  thoroughly  dry* 
in  that  manner,  give  it  the  cement  as  follows. 


SECRETS  IN  ARTS,  TRADES,  Sec. 


9r 


CXXXII.  The  method  of  incorporating  the  ground  la- 
pis lazuli,  with  either  of  the  strong  or  soft  cements . 

1.  For  one  pound  of  the  lapis  lazuli , prepared  as  directed  in 
the  preceding  article,  take  one  of  the  strong  cements  described* 
Rub  this  over  with  your  hands  as  you  take  it  out  of  the  water, 
in  which  preserve  it ; then  cut  in  small  bits,  and  put  it  a melt- 
ing over  warm  ashes,  in  a giazed  new  pipkin.  Take  care  that, 
in  melting,  it  should  not  fry.  When  this  happens,  put  a little 
lintseed  oil,  it  will  immediately  cease  to  fry. 

2.  When  the  cement  is  well  dissolved,  take  that  same  spa- 
tula which  before  served  you  to  make  it  with,  rub  it  over  with 
a little  of  the  same  oil,  and  stir  well  the  melted  cement  with  it* 
Then  with  the  other  hand,  taking  a pound  of  prepared  lapis 
lazuli , let  it  run  slowly  into  your  cement,  till  the  whole  pound 
is  put  into  the  cement,  which  you  must  not  cease  to  stir  and 
mix  with  the  spatula,  as  long  as  you  pour  in  the  lapis.  Con- 
tinue to  stir  after  that,  till  you  are  well  convinced  that  the  iapis 
and  the  cement  are  well  mixed  and  amalgamated  together. 

3.  When  this  is  done,  take  the  pot,  and  pour  the  contents, 
quite  boiling,  into  a vessel  full  of  cold  water,  and  with  the 
spatula  take  out  all  that  is  about  the  sides  of  it,  and  clean  it 
well.  Then  when  the  said  cement  shall  be  cold  enough  to  ad- 
mit touching  it  with  your  hands,  rub  them  all  over  with  puri- 
fied lintseed  oil,  and  take  it  out  of  the  water.  If  in  pulling  it, 
you  see  it  is  well  tinged  and  coloured,  it  is  a good  omen.  Work 
it  well  then  between  your  hands,  and  with  your  fingers,  for 
near  two  hours,  pulling  it  the  same  time  to  the  length  and 
breadth,  to  see  whether  there  are  not  some  bubbles  inclosing 
little  parcels  of  powder  not  well  divided  and  incorporated,  and 
that  you  may  spread  them  in  the  cement  in  working.  The 
more  the  paste  is  thus  wrought,  the  better  it  will  be  afterwards, 
as  it  will  require  less  washing  to  get  the  azure  out  of  it. 

4.  When  it  is  thus  wrought,  form  it  into  a lump  like  a loaf 
of  bread,  and  put  it  into  a china  bowl,  with  fresh  cold  water, 
where  let  it  soak  for  ten  or  fifteen  days  longer,  because  the  lon- 
ger it  soaks,  the  finer  and  more  perfect  it  becomes,  and  the 
more  easy  to  get  the  azure  out.  But  if  it  be  not  soaked  at  least 
twelve  days,  it  will  not  do  at  all. 

CXXXIII.  Directions  for  extracting  the  azure  out  of 
the  cement . 

1.  Take  the  lump  of  cement  just  mentioned  out  of  the  cold 
water  in  which  you  left  it  to  soak.  Rub  it  softly  over  with 
your  hands,  and  place  it  in  a finely  glazed  china  bowl,  previ- 
ously wet  with  the  aforesaid  lintseed  oil. 


SECRETS  IN  ARTS,  TRADES,  &c. 


m 

2.  Pour  over  it  lukewarm  common  water,  filtered  through  a 
liat  before  warming.  Observe  that  this  water,  when  poured 
on  the  cement,  be  rather  cool  than  warm,  and  let  there  be  about 
two  fingers  breadth  in  the  bowl  above  the  cement.  Then  let 
it  soak  about  one  quarter  of  an  hour. 

3.  Have  two  sticks  made  of  box,  or  other  fine  hard  wood, 
susceptible  of  a fine  polish.  These  sticks  must  be  made  round 
by  a turner,  of  a foot  iong  or  thereabouts,  a little  thicker  than 
one’s  thumb,  being  larger  at  one  of  the  ends,  and  flattened  in 
form  of  an  almond. 

4.  With  these  sticks,  move  and  turn  gently  at  first,  your  ce- 
ment in  lukewarm  water.  And  if  in  so  doing  it  should  stick 
to  the  bottom  of  the  bowl?  rub  you?  hands  with  oil,  and  detach 
it  carefully,  turning  and  returning  it  gently  with  your  hands  in 
the  water,  till  at  last  it  begins  to  be  tinged  with  azure. — The 
first  signs  by  which  you  know  that  the  cement  begins  to  render 
the  ultramarine,  are  certain  lines  and  streaks  which  appear  in 
the  water,  not  unlike  the  rays  of  the  sun.  And  when  this  is 
the  case,  take  notice,  that  the  water  soon  assumes  a high  hue 
of  that  colour,  particularly  at  the  first  discharge  of  the  cement, 
as  it  is  always  the  best  azure  which  comes  first. 

5.  As  soon  therefore  as  you  see  your  water  sufficiently  tin- 
ged, pour  it  through  a sieve  into  the  vessel  with  three  cocks, 
described  before,  supporting  the  cement  on  two  sticks,  for  fear 
it  should  stick  to  the  bottom  of  the  bowl,  when  thus  left  dry 
on  it.  The  reason  you  are  advised  to  run  this  water  through 
a sieve,  is  to  prevent  any  bits  of  cement  which  have  broken 
from  the  lump,  and  be  loose  in  the  water,  from  running  with 
it,  so  that  you  might  stop  and  rejoin  it  to  the  other. 

6.  When  you  have  got  this  first  water  out  of  the  cement, 
pour  some  more  water,  of  the  same  degree  of  warmth,  rather 
under  lukewarm  than  above,  and  proceed  as  before  with  sticks, 
moving  and  turning  the  cement,  and  so  working  it  as  to  get 
new  azure  from  it,  which  decant  into  a vessel  separately  from 
the  first  water. 

7.  Repeat  again  the  same  process,  to  draw  the  third  azure, 
and  decant  again  this  into  a vessel  by  itself. 

Observe  not  to  hurry,  particularly  at  first,  the  softening  of  the 
cement  in  the  water,  by  working  too  hastily,  if  you  force  the 
azure  too  precipitately  out  of  the  cement,  you  will  manifestly 
spoil  ail. 

cxxxiv:  obs  ervcitions  on  the  colours  of  the  azures , 

at  their  coining  out  of  the  cement , and  the  signs  which 

attend  them, 

l.  The  most  manifest  sign  of  the  first  azure  coming  out,  is 


Secrets  in  arts,  trades,  &c. 


ioi 


a p parent  coarseness;  a character  which  is  owing  to  the 
veins  of  gold  which  appeared  in  the  original  stone,  and  which 
give  the  first  ultramarine  that  sort  of  look. 

2.  The  second  azure  will  seem  much  finer,  but  its  colour 
will  not  be  so  high  nor  so  tine. 

3.  The  third  will  increase  again  in  appearance  of  fineness.., 
but  diminish  still  more  in  hue,  which  will  be  of  a much  paler 
blue  than  any  of  the  two  others.  These  observations  are  al- 
ways on  the  supposition  that  the  original  stone  was  a good 
one,  and  had  gone  fairly  through  all  the  trials. 

CXXXV.  The  washing  and  purifying  of  the  azures  af- 
ter they  ar  ■ got  out  of  the  cement . 

When  the  different  azures  are  all  got  out  of  the  cement,  let 
them  settle  and  fall  down,  each  at  the  bottom  of  their  vessels. 
When  their  waters  appear  quite  clear  and  free  from  them  on 
the  top,  pour  them  out  gently  and  carefully  by  inclination  ; 
then  supply  them  with  soft  lye,  and  wash  those  azures  in  it 
with  your  bauds,  and  each  of  them  distinctly  in  separate  ves- 
sels by  themselves.  Then  let  them  settle  to  the  bottom,  and 
decant  out  that  lye,  and  repeat  again  and  again  the  same  pro- 
cess, till  you  are  sure  they  are  all  well  purged  from  the  grease 
of  the  cement  in  which  they  were.  Rinse  them  afterwards  in 
three  or  four  different  clear  waters,  filtered  through  a hat,  and 
they  will  be  perfectly  purified  and  clean. 

CXXXVT.  Another  way  of  purify  mg  the  same  azures 
with  yolks  of  eggs. 

1.  Take  half  a dozen  of  yolks  of  eggs,  from  hens  fed  upon 
corn,  and  not  suffered  to  run  among  the  grass.  Pierce  the  pel- 
licula which  covers  those  yolks  with  the  point  of  a needle,  and 
pour  equally  those  yolks  on  the  azure  powder,  as  you  would 
do  oil  on  a sallad. 

2.  Do  the  same  on  all  your  different  azures,  put  separately 
in  different  dishes.  Then  incorporate  well  the  azure  and  the 
yolks  of  eggs  together  with  your  hands.  When  done,  wash  it 
afterwards  with  the  softest  lye,  so  many  times  that  it  shall  at 
last  come  out  as  clear  as  you  first  put  it  in  ; then  rinse  it  three 
or  four  times  in  clear  water,  which  has  been  filtered  several 
times  through  a hat. 

This  method  of  washing  the  azures  is  an  excellent  one.  It 
may  be  deemed  a true  secret  to  give  them  a fine  lustre  and 
brilliancy.  Never  forget  to  let  each  of  your  waters  be  well 
settled  before  you  change  them,  otherwise  you  will  lose  a great 
deal  of  the  azures. 


K 


102  SECRETS  IN  ARTS,  TRADES,  &c. 

C XX XVI I.  Another  secret  for  purifying  azure  s. 

To  give  the  most  admirable  lustre  to  azures.  Take  a bul- 
lock’s gall,  and  pour  it  on  your  separate  azures,  after  they  have 
been  washed  and  purified  in  waters,  lyes,  and  yolks  of  eggs. 
Then  rub  and  handle  well  those  azures  with  your  hands,  each 
by  themselves,  and  one  after  another  distinctly,  for  fear  of  mix- 
ing some  of  the  one  with  any  of  the  others.  Then  wash  them 
as  above  directed. 

CXXXVIII.  How  to  run  the  azures 9 after  having  been 
thus  cleansed , washed  and  purified'. 

1.  The  ultramarine  azure,  as  well  as  all  the  others,  ought  tg 
be  run,  for  fear  there  should  remain  some  grease,  dirt,  or  bit 
of  cement  among  them.  Therefore,  when  they  come  to  the 
last  water,  run  them  through  a fine  sieve,  then  through  another 
more  open,  and  through  another  again  more  so  still.  Each 
time  let  the  water  settle,  till  you  have  them  quite  clear,  or 
take  them  out  by  means  of  a sponge,  as  before  directed,  but  do 
it  with  such  care  as  not  to  have  your  azure  get  into  the  sponge 
with  the  water,  which  would  be  very  detrimental  to  your  in- 
terest. 

2.  When  you  have  well  cleared  all  the  waters  away,  let  those 
azures  all  dry  in  their  own  dishes  or  bowls,  and  in  the  shade, 
not  in  the  sun,  and  guard  well  against  dust  and  dirt  in  working 
them. 

3.  When  the  azures  are  perfectly  dry,  gather  them  each  se- 
parately, and  put  them  in  small  white  bags,  made  of  animals 
skins,  with  the  smoothest  side  inwards.  When  the  little  bag 
is  tied,  rub  it  all  manner  of  ways,  to  refine  the  azure  in  it ; and 
the  more  you  shall  have  done  so,  the  finer  colour  the  azure  will 
acquire  when  you  open  it,  and  it  comes  to  the  air  again. 

CXXXIX.  The  method  of  making  the  green  azure . 

1.  With  the  Armenian  stone,  if  we  are  to  believe  Alexander 
Troilian , who  says,  that  it  is  enough  to  reduce  that  stone  into 
powder  on  the  marble  or  porphyry,  then  wash  it  several  times 
in  clean  water,  and  dry  it  afterwards. — But  it  must  certainly 
be  far  preferable  to  separate  the  colour  from  the  constituent 
matter  of  the  stone,  and  all  its  earthly  particles,  which  must 
undoubtedly  render  it  much  finer  and  fitter  for  painting,  as  it 
is  more  purified  of  its  heterogeneous  parts.  Therefore,  the 
following  process  is  most  adviseable 

2.  Reduce  the  stone  into  a subtile  powder,  then  put  it  into 
bpandy  or  distilled  vinegar.  Put  this  to  digest  on  the  hot  ashes 


SECRETS  IN  ARTS,  TRADES,  &c. 


103 


bath,  or  balnea  maria , till  the  liquor  is  perfecly  charged  with 
the  colour  of  the  stone.  Decant  it  then  gently  into  another 
vessel,  and  pour  some  more  brandy  or  vinegar  on  its  ground, 
if  you  have  reason  to  think  that  there  remains  some  colour  still 
in  the  stone,  throw  away  all  the  ground,  as  perfectly  useless, 
and  then  evaporate,  on  warm  ashes,  the  vinegar  or  brandy  im- 
pregnated with  the  colour  ; or  rather  distil  it,  as  by  that  means 
you  will  get  your  liquor  pure  again,  and  may  use  it  another 
time  for  the  same  purpose,  instead  of  washing  it  away. 

3.  By  this  process,  which  seems  most  rational,  you  will  get 
the  green  colour  quite  pure  at  the  bottom  of  the  vessel.  Wash 
and  clean  it  pure  with  water,  and. after  dying,  keep  it  for  use* 
This  is  a very  fine  colour  in  painting,  and  has  this  advantage, 
that  it  never  loses  its  brightness. 

CXL.  A very  fine  method  for  marbling  paper. 

The  paper  must  first  be  prepared,  by  wetting  the  paper  with 
a sponge  dipped  in  roch-alum  water,  then  letting  it  dry, — When 
the  sheets  have  been  thus  prepared,  have  a pan  full  of  water, 
and  with  a large  and  long-handled  painting-brush,  take  of  one 
colour,  and  shake  it  in  the  water  ; take  of  another  and  do  the 
same,  and  so  on  till  you  have  taken  of  all  the  colours  you  intend 
to  have  on  your  paper.  Each  of  these  colours  fall  to  the  bot- 
tom of  the  water  ; but  take  with  a similar  brush  as  the  first,  a 
mixture  of  bullock’s  gall,  and  of  dissolution  of  soap  in  water, 
then  shake  on  the  water,  and  all  over  the  surface,  and  you  will 
soon  see  all  the  colours  rising  up  again  and  swimming  on  the 
top  of  the  water  each  separately  as  you  first  put  them.  Then 
lay  the  sheet  of  paper  on  it,  give  it  a turn  on  one  side  or  the 
other,  as  you  like,  and  take  it  up  again  ; wash  and  set  it  to  dry, 
then  burnish  it,  and  it  is  done. 

CXLI.  Another  Method . 

There  are  several  kinds  of  marbled  paper,  which  vary  only 
in  the  form  or  figure  of  colouring ; some  are  dotted,  others 
drawn  in  irregular  lines;  but  the  method  of  tinging  them,  sim- 
ply consists  in  dipping  the  paper  in  a thick  solution  of  gum 
tragacanth,  over  which  the  colours  are  anitormly  spread,  after 
having  been  ground  with  ox-gall  and  spirit  of  wine. 

Process.  First  immerse  the  paper  in  clean  water;  the  sheets- 
being  regularly  folded  over  each  other,  and  covered  with  a 
weight.  It  is  now  to  be  carefully  laid  on  the  colouring  solu- 
tion, and  pressed  softly  down  with  the  hand  that  it  may  bear 
equally  on  the  whole,  next  the  paper  must  be  suspended,  in  or° 
der  to  dry  ; and  as  soon  as  the  moisture  is  evaporated,  the  pa* 


104 


SECRETS  IN  ARTS,  TRADES,  &c. 


per  is  polished  by  rubbing  it  with  a little  soap,  and  smoothing' 
it  with  glass  highly  burnished,  or  with  a polished  agate. 

The  colours  usually  employed  are,  for  red,  carmine,  lake,  or 
vermilion  ; for  yellow,  Dutch-pink  and  yellow  ochre  ; for  blue, 
Prussian  blue  and  verditure ; for  green,  verdigrease,  a mixtureo  f 
Dutch-pink,  and  Prussian  blue,  in  various  proportions ; for 
orange,  the  orange  lake,  or  a composition  of  vermilion  or  red- 
lead  with  Dutch-pink ; and  for  purple,  rose  pink  and  Prussian 
blue.  These  colours  are  first  to  be  finely  triturated  with  spirit 
of  wine,  when  a small  proportion  of  gall  is  to  be  added,  and 
the  grinding  of  the  whole  to  be  repeated.  The  proper  quan- 
tity of  gall  can  be  ascertained  by  comparative  trials,  because 
there  must  be  only  such  a proportion  of  it  used,  as  will  suffer 
the  spots  of  the  various  tinging  matter  to  unite,  when  sprinkled 
on  the  solution  of  tragacanth,  without  intermixing  or  running 
into  each  other.  The  whole  being  thus  prepared,  the  solution 
is  to  be  poured  into  different  vessels,  according  to  the  colours 
employed,"  which  are  to  be  sprinkled  on  the  surface,  and  the 
process  of  marblijig  is  completed  by  laying  the  paper  on  the 
mixture,  in  the  manner  above  directed. 

GXLII,  How  to  hr e/iare  a transparent  paper  to  chalk 

with. 

In  order  to  render  themselves  sooner  and  more  easily  mas- 
ters of  chalking  neatly,  and  not  to  go  out  of  the  fine  turns  and 
outlines  of  a drawing,  beginners  should  first  know  how  to  pre- 
pare a transparent  paper  which  as  it  lets  them  see  the  minutest 
parts  of  the  strokes  as  through  a glass,  gives  them  of  course  an 
opportunity  of  acquiring  by  practice,  a correctness,  precision, 
and  truth,  in  the  expression  of  all  the  turns  of  a piece  of  draw- 
ing, be  it  whatever  it  may.  This  preparation  is  as  follows 

1.  Have  one  or  several  sheets  of  fine  and  very  thin  paper,  and 
rub  them  over  with  oil,  or  spirit  of  turpentine  mixed  in  double 
the  quantity  of  oil  of  nuts.  To  cause  the  paper  to  imbibe  that 
mixture,  steep  a sponge  or  feather  in  it,  which  pass  on  both 
sides  of  the  paper,  and  then  let  it  dry. 

2.  When  you  want  to  use  it,  lay  it  on  a print.  Then  with  a 
brush,  a pencil,  or  a pen,  pass  over  all  the  stroke  lines  and  turns 
of  the  design  laid  under.  You  may  even  thus  learn  to  shade 
with  neatness,  if  you  colour  that  same  design  while  fixed  on  the 
jpriginal  print,  with  India  ink. 

Thus  practising  often,  and  for  a certain  while,  you  may  learn 
to  draw  very  neatly,  and  even  with  boldness,  provided  you  ap- 
ply with  attention.  This  method  will  certainly  prove  agreea- 
ble, useful,  and  entertaining,  for  those  who  have  not  the  pa- 
tience to  learn  by  the  common  method,  which  seems  too  te- 
dious to  some,  and  generally  disgust  beginners. 


105 


CHAP.  VII. 


Secrets  relative  to  the  Art  of  G ilding. 


I.  The  method  of  gilding  with  size , or  oil . 

HT*H£  gold  leaves  which  are  commonly  used  in  gilding  are  of 
JL  different  sizes,  as  well  as  of  various  degrees  of  thickness. 

To  gild  on  iron  and  other  metals,  the  strongest  and  the  pu- 
rest are  preferable.  That  which  is  not  so  pure  is  commonly 
employed  by  carvers  in  wood,  as  it  comes  cheaper  to  them. 

We  are  indebted  to  this  discovery  of  the  secret  in  painting  in 
oil,  for  the  means  of  gilding  in  such  a manner  as  to  resist  the 
Injuries  of  the  weather.  — An  art  the  ancients  were  not  acquain- 
ted with,  and  they  could  not  obtain  from  their  method  of  ap- 
pfying  gold,  since  they  used  nothing  else  but  whites  of  eggs 
for  gilding  marble,  and  such  other  bodies  as  do  not  admit  of 
being  committed  to  the  fire.  As  for  the  wood,  they  made  a 
composition  which  was  used  with  size.  But  neither  size  nor 
whites  of  eggs  can  resist  the  water.  Therefore  they  could  not, 
with  propriety,  gild  any  other  works  than  such  as  were  shel- 
tered from  the  intemperance  of  the  weather,  m,  their  arches, 
their  ceilings,  which  were  all  gilt  in  that  manner.  The  compo- 
sition they  used  for  gilding  on  wood  was  made  of  a slimy  earth, 
which  held  the  place  of  the  sized  white  we  use  now-a-days, 
and  with  which  gliders  made  that  first  coat,  called  by  artists 
assiette , or  burnish-gold  size. 

II.  To  gild  with  size 3 or  what  is  called  in  burnish  gold. 

1.  Begin  by  preparing  your  size  as  follows.  Take  about  a 
pound  of  odd  bits  of  parchment,  or  leather,  such  as  is  prepared 
for  gloves  or  breeches.  Put  this  a oiling  in  a pailful  of  water, 
till  it  is  reduced  to  one  half,  and  your  size  is  done  as  it  ought  to 
be. 

2.  When  you  want  to  use  it  for  wood  which  is  to  be  gilt, 
it  must  be  boiling  hot,  otherwise  it  would  not  penetrate  suffi- 
ciently into  the  wood.  If  you  find  it  too  strong,  you  may 
weaken  it  by  adding  water  to  it.  Then  with  a brush,  lay  the 
size  in  smooth,  if  it  be  a plain  work;  but  if  a carved  one,  yoq 
must  lay  it  in  stumping  with  the  brush  ; either  of  which  ways 
h equally  termed  to  size, 

K 2 


106 


SECRETS  IS  ARTS,  TRADES,  &fc; 


S.  When  the  wood  is  thus  prepared  with  size  only,  snake 
another  preparation,  called  an  infusion  of  white,  in  the  follow* 
ing  manner  *,  Take  a quantity  of  size  boiling  hot,  as  much  as 
you  think  will  be  sufficient  for  your  work  Dilute  a discre- 
tionable  quantity  of  pulverised  whitening  in  it,  and  let  it  infuse 
sometime.  When  it  seems  well  dissolved,  strain  it  through  a 
cloth  to  make  it  finer  ; then  with  a brush,  as  above,  give  seven 
or  eight  different  coats  of  it  in  stumping  on  your  work,  and 
two  more  coats  in  smoothening,  if  it  be  on  carved  work  ; but 
if  on  a plain  one,  you  must  give  a dozen  of  coats  at  least  ; for 
the  white  is  the  nourishment  of  gold,  and  serves  to  preserve  it 
a great  while.  Be  careful  not  to  give  coat  upon  coat,  unless 
the  last  be  very  dry  ; otherwise  the  work  might  scale.  You 
must  even  have  a great  care  that  each  coat  should  be  laid  on  as 
perfectly  equal  as  possible,  both  in  the  strength  of  the  size, 
and  thickness  of  the  white,  to  avoid  the  same  inconveniency. 

4.  When  you  have  given  the  requisite  number  of  coats, 
whether  in  stumping,  or  in  smoothening,  you  must  let  the 
work  dry  thoroughly  before  you  polish  it.  As  soon  therefore 
as  it  is  perfectly  dry,  you  must  have  a coarse  rough  cloth, 
quite  new,  and  as  closely  wove  as  possible,  with  little  deal 
sticks,  cut  square,  angular,  or  pecked,  according  as  the  nature 
and  carving  of  the  work  require  ; and  thrusting  one  of  these 
sticks  into  the  cloth,  rub  and  smoothen  the  white.  Then  ta- 
king a brush  made  of  boar’s  bristles,  which  has  been  already 
used,  because  it  is  softer,  dip  it  into  some  clean  water,  and 
wet  the  work  in  proportion  as  you  go  on  in  polishing,  with 
your  little  sticks  wrapped  up  in  cloth.  This  precaution  com- 
pletes the  smoothening  of  the  work,  by  levelling  the  small 
bumps  and  imperceptible  undulations  you  may  have  made  ei- 
ther in  giving  the  white,  or  in  polishing  it.  For  the  smoother 
the  work,  the  more  easy  to  burnish  the  gold,  after  having 
been  applied.  Wet  and  brush  it  in  proportion  as  you  polish 
it,  with  a brush  a little  worn,  spare  not  to  purge  your  brush  of 
all  the  filth  it  gathers  about  the  point  of  its  hair,  by  washing 
and  squeezing  it  again  as  soon  as  you  see  them  grow  thick  in 
the  least  with  that  dirt. 

5.  When  the  white  is  once  more  dried,  rub  it  with  shavegrass, 
or  rushes,  in  order  to  level  still  better  all  the  grains  and  ine- 
qualities which  may  be  on  it.  Do  not,  however,  rub  it  too 
much  with  the  shavegrass,  because  you  may  thereby  fall  from 
one  error  into  another,  and  make  your  white  what  is  called 
greasy  or  smeary,  which  would  prevent  it  afterwards  from 
uniting  with  the  burnish  gold  size,  which  is  to  precede  the 
laying  on  of  the  gold. 

6.  Now,  as  it  is  difficult  that  after  ten  or  a dozen  of  coats 
of  white,  the  carving  should  not  he  choaked  up,  they  who  are 
fond  of  finishing  their  work  highly,  take  an  iron  instrument, 


SECRETS  IN  ARTS,  TRADES,  Sec. 


i oi 


made  on  purpose,  and  curved  by  one  end,  (called  by  the  French 
a fer-a-retirer,)  with  this  raffling  crook  they  go  over  all  the 
turns,  and  open  all  the  places  which  want  it,  to  restore  them 
to  their  former  sharpness.  Or  else,  take  what  is  called  a fer- 
moir , or  gouge,  and  give  to  the  ornaments  the  same  form  which 
the  carver  observed  when  he  first  cut  them,  turning  agreeably 
the  sides  of  leaves  according  to  nature  ; then  bretelling  with 
another  instrument,  called  the  reining  crook  (in  French  fermoir 
a nexrond,)  all  the  ornaments,  you  thereby  render  neater,  and 
more  delicate  than  the  carver  had  first  made  it.  That  you 
may  cut  the  white  more  neat,  observe  only  to  wet  it  a little 
with  a brush. 

7.  When  works  are  not  of  great  consequence,  you  may  easi- 
ly save  yourself  all  that  trouble  ; principally  if  the  carving  is 
pretty  neatly  finished,  by  giving  two  or  three  coats  only  of 
white  very  clear.  But  the  white  is  the  principal  support  of 
gold,  this  operation  is  never  so  perfect  as  when  it  has  received 
ten  or  twelve  coats  of  white,  and  been  afterwards  re-cut,  car- 
ved, veined,  and  repaired  over  again,  as  I said  before. 

8.  Then  dilute  some  yellow  ochre,  and  grind  it  with  sized 
water,  weaker  by  half  than  that  which  you  used  for  the  whiten- 
ing. And  having  made  it  a little  fluid  and  warm,  lay  one  coat 
of  it  over  all  the  work,  principally  in  such  deep  places  of  the 
carving  as  you  cannot  come  at  to  lay  the  gold  leaf,  that  this 
colour  may  supply  its  want. 

9.  When  the  yellow  is  dry,  lay  over  it  (in  all  the  raised  pla- 
ces, but  not  in  the  bottom  grounds)  three  different  coats  of 
another  sort  of  composition,  called  in  French  assielte,  and 
here,  burnished  gold  size,  prepared  in  the  following  manner  : 
Bol  armenian,  about  the  bigness  of  a nut,  and  grind  it  by  it- 
self ; blood  stone,  or  red  chalk,  the  bulk  of  a horse  bean,  and 
black  lead  pulverised  as  bigas  a pea,  grinded  both  together  ; 
and  at  last  one  drop  or  two  of  tallow,  which  grind  afterwards 
with  all  the  other  drugs  and  water,  taking  them  a little  at  a 
time,  to  grind  and  incorporate  them  the  better.  Put  this  com- 
position in  a cup,  and  pour  over  it  some  of  your  aforemention* 
ed  size,  boiling  hot,  and  strained  through  a cloth.  Stir  and 
mix  all  well,  while  you  pour  that  size,  that,  the  whole  may  be 
well  diluted.  The  brush  you  lay  k on  with  ought  to  be  soft, 
and  the  first  coat  lay  pretty  thin  ; but  as  for  the  two  others, 
they  must  be  so  thick  that  the  stuff  should  run  with  difficulty 
from  the  brush.  Each  coat  must  be  well  dried  before  giving 
the  next.  And  when  the  last  is  perfectly  dry,  take  a stiffer 
brush,  and  dry  rub  the  work  all  over,  to  smoothen  all  the 
grains  and  little  risings  of  the  gold  size,  and  thereby  facilitate 
the  burnishing. 

10.  The  gilding  is  performed  as  follows.  Have  first  a pip- 
kin very  clean,  in  which  put  some  very  clean  and  filtered  wa- 


108 


SECRETS  IN  ARTS,  TR  ADES,  &e. 


ter,  and  a few  wetting  pencils,  which  ought  to  be  made  in  the 
form  of  those  ermine  tails  which  hang  in  the  ermine  skins. — 
Get  next  a cushion,  which  is  to  be  made  with  a light  and  fiat 
square  board  covered  with  calf  leather,  fixed  all  round  with 
nails,  and  stuffed  underneath  with  cotton.  Let  this  cushion 
be  also  urrounded  by  the  back  part,  and  two  thirds  of  each  of 
the  two  sides,  with  a band  of  parchment  of  five  or  six  inches 
high,  to  prevent  the  air  from  blowing  off  the  gold  leaf. 

1 1. '  Put  what  quantity  of  gold  leaves  you  think  proper.  With 
the  gilding  knife  spread  these  leaves  very  smooth,  in  doing  of 
which  you  will  assist  yourself  very  much  if  you  breathe  over 
them  while  you  pass  the  knife  under.  Then  cut  it  in  as  many 
parts  and  sizes  as  you  want,  or,  if  there  be  occasion  for  it 
whole,  take  it  with  your  tip,  and  lay  it.  A tip  (in  French,  pa- 
lette) is  an  instrument  made  with  the  point  of  a squirrel’s  tail 
placed  upon  a round  stick  flattened,  and  about  half  an  inch 
wide  by  one  end,  with  a slit,  to  separate  and  spread  the  better 
the  squirrel  s tail.  Thistip  pass  along  your  cheek,  and  with  it 
take  of  the  gold  leaf,  or  what  part  of  it  you  have  divided,  and 
thus  lay  it  oqthe  work.  Previously,  however,  to  this,  you  must 
have  passed  on  the  place  one  of  your  pencils  immediately  be- 
fore the  laying  of  the  gold,  otherwise  the  gold  would  be  inces- 
santly slitting  and  cracking.  As  soon  as  the  gold  leaf  is  laid 
on  the  work,  take  your  water  pencil  quite  wet,  and  passing  it 
above  the  work,  let  the  water  run  from  it  under  the  leaf  just 
applied  ; this  will  quickly  make  it  spread  and  catch.  But  if  it 
should  pass  over  the  gold  leaf,  it  would  immediately  spot  and 
spoil  it  ; and  as  it  is  impossible  to  lay  on  gold,  especially  when 
wet,  you  would  not  be  able  to  repair  it,  unless  you  take  the 
gold  leaf  entirely  off,  and  put  another  in  the  stead.  On  the 
contrary,  by  the  water  slipping  under  the  gold  leaf  just  laid, 
you  will  find  that  this  spreads  infinitely  more  easy,  and  almost 
of  itself  ; it  sticks  faster  on  the  gold  size,  never  scratches,  is 
more  easily  dusted  for  burnishing,  or  matting  with  size  ; in 
short,  the  WGrk  iooks  infinitely  better  in  every  respect.  As  it 
is  impossible  with  all  possible  care,  but  there  may  happen 
some  little  accident  now  and  then,  principally  in  carved  works, 
you  must,  in  such  case,  cut  some  small  bits  of  gold,  which, 
with  a pencil,  take  and  put  on  the  defective  places,  when  you 
look  your  work  over. 

12.  When  the  work  is  perfectly  dry,  burnish  it  where  you 
think  proper,  in  order  to  detach  certain  parts  from  the  other, 
to  make  them  set  off  and  shew  to  better  advantage.  To  that 
effect  use  an  instrument  called  a burnisher , made  either  of  a 
real  wolf’s  tooth,  or  rather  as  they  now  use  it,  an  agate,  made 
in  the  same  form,  and  finely  polished,  or  else  a pebble  called 
blood  stone . Before  burnishing  you  must,  with  the  crooked 
point  of  your  burnisher,,  push  down  all  the  parts  of  gold  in  the 


SECRETS  m ARTS,  TRADES,  &c. 


m 


hollow  parts  which  you  forgot  to  do  with  the  pencil,  then  dust 
It  with  a large  one.  When  the  work  is  burnished  where  you 
want  it  to  be  so,  matt  and  repass,  with  a very  soft  pencil  and 
burnish  gold  size,  what  has  not  been  burnished,  or,  you  may 
again  put  some  vermilion,  to  raise  the  gold,  and  make  it  look 
brighter ; which  is  called,  in  term  of  art,  repassing . 

13.  There  is  again  another  repassing  you  must  not  forget, 
which  is  to  lay,  in  all  the  hollow  places  of  a carved  work,  a 
coat  of  a composition  of  a vermilion,  as  I am  going  to  pie- 
scribe,  and  which  will  give  an  incomparable  fire  to  the  gold, 
and  make  it  look  as  goldsmith’s  work.  This  composition  is 
such — Grind  together,  on  marble,  some  vermilion,  gamboge, 
and  red  brown,  which  mix  with  a little  Venetian  turpentine, 
and  oil  of  turpentine.  If,  after  having  burnished,  matted,  and 
repassed  your  work,  you  find  again  some  defective  places, 
you  may  mend  them  with  gold  in  shell,  which  is  diluted  with 
a little  arabic,  and  applied  with  a pencil.  This  sort  of  fault- 
ing is  no  small  addition  to  the  beauty  and  richness  of  the 
work  5 the  French  call  it  buckling  with  gold  in  shell . 

III.  To  gild  without  gold. 

Put  in  a crucible  one  ounce  of  ammoniac  salt,  and  half  that 
quantity  of  common  mercury.  Cover  and  lute  well  the  cruci- 
ble for  fear  the  mercury  should  exhale.  Give  this  a small  fire 
for  the  space  of  half  an  hour.  Increase  the  fire  afterwards  till 
the  crucible  is  quite  red  hot.  Then  throw  the  composition 
into  a pan  of  cold  water.  As  soon  as  this  matter  is  cold,  it 
will  be  as  hard  as  a stone.  Break  and  grind  it,  and  dissolve  it 
in  gum  water.  Wherever  you  lay  a coat  of  this,  it  will  look 
like  gilt. 

IV.  Another  to  the  same  fiurfiose . 

To  gild  frames,  and  other  common  things,  pulverise  and 
incorporate  well  together  the  yolk  of  an  egg  with  two  ounces 
of  mercury,  and  one  of  ammoniac  salt.  Put  this  into  a matrass, 
stop  it  well,  and  set  it,  for  four  and  twenty  days,  in  hot  horse 
dung. 

V.  A gilt  without  gold. 

Grind  some  purpurine  with  water ; then  put  it  to  soak, 
with  chamber  lye  in  a pan  ; stir  and  skim  it.  When  it  has 
done  throwing  any  scum,  decant  the  chamber  lye,  and  supply 
it  by  gum  water.  Whatever  you  write  or  draw  with  this  com- 
position,  will  look  as  gold  itself ; and  it  admits  even  of  being 
burnished  with  the  burnisher. 


110 


SECRETS  IK  ARTS,  TRADES,  &c, 

VI.  The  preparation  of  the  gum, -water. 

In  half  a pint  of  common  water,  put  two  ounces  of  gum  ara- 
foie,  hrused  in  small  bits.  When  dissolved,  it  makes  the  right 
degree  of  gum  water  to  be  used  for  the  above  purpose. 

VII.  To  write  in  gold  or  silver. 

Draw  the  juice  of  juniper  leaves.  In  this  juce  throw  some 
gold  or  silver  filings,  which  set  there  to  infuse  for  three  days  ; 
then  make  the  trial. 

VIII.  To  gild  on  glasses,  earthen , ox  china  wares. 

Take  a glass,  or  china  cup,  wet  it,  and  lay  your  gold  where 
and  how  you  like,  then  let  it  dry.  Dissolve  some  borax  in 
water,  and  of  this  liquor  lay  a coat  on  your  gold.  Set  it  in 
the  fire  till  your  glass  powder  in  melting  makes  a varnish  bn 
the  gilded  parts,  which  will  then  appear  very  beautiful. 

IX.  To  write,  or  paint,  in  gold  colour . 

Pulverise  some  purpurine  into  subtile  powder ; then  water 
it  over  gently,  and  by  little  at  a time,  with  chamber  lye,  turn- 
ing incessantly,  while  you  pour,  with  a stick.  Let  it  settle,  and 
wash  it  in  common  water  so  many  times  till  you  see  the  water 
comes  out  at  last  quite  clear.  Each  time  you  change  the  wa- 
ter, take  particular  care  to  allow  a sufficient  time  for  the  set- 
tling. Then  mix,  after  the  last  water  is  poured  away,  some 
powder  of  saffron  and  gum-water  with  your  ground,  and  either 
write  or  paint,  which  you  like.  This  secret  i§  by  no  means 
an  indifferent  one  ; and  you  will  find  it  very  agreeable  if  you 
try. 

X.  To  write  or  f mbit  in  silver,  especially  with  a pencil. 

Pound  well,  in  a bell-metal  mortar,  some  tin  glass ; then 
grind,  and  dilute  it,  on  porphyry,  with  common  water.  Let 
it  settle,  and  throw  off  she  water,  which  will  be  black  and 
dirty.  Reiterate  this  lotion  so  many  times,  till  the  water  re- 
mains clear.  Then  dilute  it  in  gum  water,  and  either  write  or 
paint  with  it.  It  will  appear  very  handsome,  and  no  ways  in- 
ferior to  the  finest  virgin  silver. 

XL  To  whiten  and  silver  copper  medals. 

1.  Take  filings  from  Cornwall  pewter,  and  make  abed  of 


SECRETS  IN  ARTS,  TRADES,  &c. 


Ill 


them  at  the  bottom  of  a pipkin.  On  this  bed  lay  one  of  your 
medals,  taking  care,  however,  they  should  not  touch  each 
other  Make  another  bed  of  filings  over  these  medals,  and  one 
of  medals  again  on  these  filings.  Continue  this  alternate  stra- 
tification of  medals  and  filings,  till  you  have  iaid  all  the  me- 
dals you  wanted  to  whiten. 

2.  When  this  is  done,  fill  up  your  pan  with  water,  and  put 
on  it  a powder  composed  of  roch  alum  and  tartar  from  Mont- 
pellier, well  grinded  and  mixed  together.  Boii  the  whole  till 
the  whitening  of  the  medals  is  complete, 

N.  B.  They  most  have  previously  been  cleaned  with  soft 
sand,  or  strong  lye,  to  purge  them  from  any  grease. 

XII.  To  write  in  gold  letters  on  pots , or  boxes > 

Dissolve  isinglass  in  water.  When  reduced  into  a size  or 
glue,  dilute  some  red  tartar  with  it  after  having  made  it  into 
a very  subtile  powder.  With  this  mixture  and  a pen,  or  a 
pencil,  write  on  your  pots  or  boxes;  then  put  a thick  gold 
leaf  on  it,  of  the  same  sort  as  metal  gilders  use.  And,  when 
this  is  dry,  burnish  as  usual. 

XIII.  To  gild  silver  in  water  gilding , without  the  assis- 
tance of  mercury . 

1.  Take  first  the  finest  gold,  forge  it  weakish,  then  cut  it 
in  bits  and  neal  it,  on  an  iron  plate,  or  in  a crucible. 

. Have  next  a glass  matrass,  put  your  gold  in,  and  to  eve- 
ry drachm  of  gold,  put  half  a pound  of  ammoniac  salt,  and 
two  ounces  of  good  aquafortis . Cover  the  matrass  with  a 
sheet  of  paper,  turned  conically  by  one  of  its  corners  upon  one 
of  the  long  sides,  so  as  to  form  a funnel  with  the  smallest,  and 
not  quite  close,  but  terminated  in  a small  orifice,  to  give  a 
free  passage  to  the  fumes  of  the  aquafortis . Set  this  matrass 
on  a very  slow  fire,  that  the  gold  rnay  have  time  to  dissolve 
gently  and  gradually,  and  shake  often  the  matrass,  to  help  the 
dissolution.  Be  very  careful  not  to  make  the  fire  too  strong  ; 
for  the  gold  would  infallibly  sublime,  and  waste  itself  all  into 
vapours. 

3.  When  the  gold  is  entirely  dissolved,  pour  this  liquor  into 
a glass,  or  china  bowl ; wet  some  old  coarse  linen  rags  on 
them,  which  set  to  drain  on  small  sticks  on  another  bowl,  do- 
ing the  same  with  what  drains  from  them  till  you  have  used  all 
your  liquor  ; then  dry  them  before  a gentle  fire. 

4.  When  dry,  lay  them  on  a marble  stone,  and  set  them  on 
fire.  And  as  soon  as  they  are  consumed,  grind  them  into  a 
fine  powder,  which  put  afterwards  into  a crucible  on  a lite 


112 


SECRETS  IN  ARTS,  TRADES,  &c. 


fire.  When  this  powder  is  lighted  like  sparkles  of  fire,  put  it 
on  the  marble  again,  and  stir  it  with  an  iron  rod  till  you  see 
no  more  fire.  Grind  it  then  again  as  before,  as  much  as  you 
possibly  can,  and  it  is  fit  for  gilding  any  sort  of  silver  work 
you  please. 

XIV.  The  sauce  to  be  used,  for  colouring  silver  plates ? 

gilt  with  the  above  described  powder. 

1.  Grind  well  together,  into  a subtile  powder,  sulphur  and 
pearl  ashes,  of  each  one  ounce,  and  two  of  common  salt. 

2.  Then,  when  you  want  to  colour  your  gilt  plates,  have  a 
quart  of  water,  and  half  a pint  of  chamber  lye,  in  which  mix 
a large  spoonful  of  the  above  powder.  Set  this  to  boil  in  a red 
copper  pot,  very  clean.  When  this  sauce  boils,  hold  the  plate 
with  a silver  wire,  and  then  plunge  it  in ; there  leave  it  for 
about  a minuet,  or  two  at  most ; then  take  it  out  again  by  the 
same  wire  without  touching  it  with  your  hands,  and  plunge 
it  in  the  same  manner  in  cold  clean  water.  Should  it  then  not 
look  high  coloured  to  your  satisfaction,  putit  again  in  as  be- 
fore, till  you  find  it  sufficiently  coloured. 

3.  The  next  step  is  to  give  the  piece  thus  coloured  to  the 
burnisher,  with  a strict  charge  not  to  use  any  vinegar  in  his 
burnish.  This  receipt  is  a very  good  and  particular  secret. 

XV.  A water  which  gilds  copper  and  bronze.  A se- 

cret very  useful  for  watch  and  pin-makers. 

Dissolve  equal  parts  of  green  vitriol  and  ammoniac  salt  in 
good  double  distilled  vinegar;  then  vaporate  the  vinegar,  and 
put  it  in  the  retort  to  distil  If  in  the  product  of  the'distilla- 
tion  you  steep  your  metal  after  being  polished  and  made  hot, 
it  will  come  out  perfectly  well  gilt. 

XVI.  Another. 

Take  burnt  copper  and  ammoniac  salt,  equal  parts;  alumen 
plemeum , four  ounces  ; common  salt  depreciated,  as  much. 
Dissolve  the  whole  in  double  distilled  vinegar,  then  vaporate 
this  vinegar.  Distil  from  the  rest  an  aquafortis,  in  which  if  you 
extinguish  five  or  six  times,  brass,  copper,  iron,  or  silver,  made 
hot,  these  metals  will  assume  the  colour  of  gold. 

X v II.  1 o gild  steel  or  iron , after  being  well  polished. 

T ake  seven  ounces  of  orpine  ; terra  merita>  one  and  a half; 
s;accotrine  aloes,  four  and  a half ; gamboge,  three  and  a half. 


SECRETS  IN  ARTS,  TRADES,  Sec 


11-8 


Put  all  into  powder,  and  put  it  in  a retort,  with  so  much  of 
pickle  water  as  will  cover  these  powders  by  two  fingers.  Stir 
well,  and  mix  all  together,  let  it  infuse  four  and  twenty  hours 
and  distil.  With  the  liquor  which  comes  from  the  distillation, 
keep  by  for  use,  rub  the  steel,  iron,  or  copper,  and  set  it  to 
dry  in  the  shade. 

XVIII.  To  silver  copper  figures . 

1.  Cleanse  well  first  the  figures  with  a strong  lye,  made  with 
either  pearl  or  brill  ashes,  or  common  salt,  or  alum,  no  matter 
which.  Wipe  them  well  when  done,  and  rub  them  with  a 
composition  of  tartar  and  ammoniac  salt,  mixed  (by  means  of 
aquafortis)  with  a little  dissolution  of  silver. 

2.  Now  with  a piece  of  leather,  wetted  in  your  spittle,  take 
of  these  powders,  and  rub  the  copper  figures  till  they  are  suffi- 
ciently silvered. 

XIX.  To  silver  or  gild  pewter. 

1.  Take  one  of  the  finest  and  most  delicate  goldsmith’s  wire-, 
brushes,  rub  your  pewter  with  it  so  as  to  mark  it  with  the 
strokes  of  the  brush.  When  done,  lay  a double  gold  or  silver 
leaf  on  that  place  of  the  pewter ; then  put  over  it  a piece  of 
skin  or  leather,  and  over  that  skin  some  putty.  With  a bur- 
nisher rub,  for  a good  while,  on  that  putty;  then  with  a piece 
of  pewter  on  the  naked  gold,  without  either  skin  or  putty. 

2.  Have  a care  that  the  pewter  be  very  clean,  and  that  your 
breath  should  not  go  over  it.  Therefore,  to  do  that  operation, 
you  must  put  your  handkerchief  before  your  mouth,  and  man- 
age it  so  in  tying  it,  that  there  should  be  a passage  preserved 
on  each  side  of  your  face,  which  should  drive  your  breath 
along  your  cheeks,  round  your  head,  and  quite  up  behind  your 
ears. 

XX.  A composition  to  lay  on  lead , tifi,  or  any  other  me- 
tal, in  order  to  hold  fast  the  ready  gilt  leaves  of  pew- 
ter which  are  applied  on  it  : useful  for  gilding  on. 
high  steeples , domes , &c. 

' 1.  Melt  together,  on  a slow  fire,  black  pitch,  two  pounds  ; 
oil  of  turpentine,  four  ounces  ; and  a little  rosin.  When  the 
whole  is  dissolved  and  mixed  well  into  a kind  of  varnish,  lay  a 
coat  of  it  on  your  work, 

2.  Upon  steeples,  the  common  method  of  gilding  cannot* 
onaccount  of  the  wind,  be  practised;  have  only  the  exact 
measures  and  dimensions  of  the  place  intended  to  be  gilt,  then 


114 


SECRETS  IN  ARTS,  TRADES,  &c. 


at  home,  and  at  leisure,  cut  to  them  some  fine  leaves  of  pew- 
ter, and  gild  them  as  usual.  When  done,  you  have  no  more  to 
do  but  to  carry  up  these  pewter  leaves,  polled  in  a basket,  and 
having  burnished  the  place  on  which  they  are  to  be  applied 
with  the  above  composition,  lay  the  gilt  pewter  leaves  on  it, 
and  they  will  stand  fast  enough. 

XXI.  To  clean  and  whiten  silver . 

1.  Rasp  four  ounces  of  dry  white  soap  in  a dish.  Pour  a 
pint  of  warm  water  on  it.  In  another  dish  put  a pennyworth 
of  wine  lye  dried  in  cakes,  and  the  same  quantity  of  the  same 
water.  In  a third  dish  put  also  another  pennyworth  of  pearl- 
ashes,  with  another  similar  quantity  of  the  same  water. 

2.  Then,  with  a hairbrush  steeped  first  in  the  wine  lye,  then 
in  the  pearhash,  and  lastly  in  the  soap  liquors,  rub  your  silver 
plate,  and  wash  it  afterwards  with  warm  water,  and  wipe  it 
with  a dry  cloth  kept  on  a horse  before  the  fire  for  that  purpose. 

XXII.  The  preparation  of  gold  in  shell. 

Take  ammoniac  salt,  and  gold  leaves,  equal  quantities.* — 
Bruise  this  in  a mortar  for  two  or  three  hours  ; and  towards 
the  end  add  a discretionable  quantity  of  honey. 

XXIII.  To  bronze  in  gold  colour . 

Rub  the  figure  first  with  aquafortis , in  order  to  cleanse  and 
ungrease  it  well.  Then  grind  on  porphyry,  into  a subtile 
powder,  and  mix  with  lintseed  oil,  equal  quantities  of  terra 
merita  and  gold  litharge.  With  this  composition  paint  the 
figure  over. 

XXIV.  How  to  matt  burnished  gold . 

Grind  together  blood-stone  and  vermilion  with  the  white  of 
an  egg.  Then  with  a pencil  lay  it  in  the  bottom  grounds. 

XXV.  How  to  do  the  same  to  burnish  silver. 

Grind  ceruse  white  with  plain  water  first,  then  with  a very 
weak  isinglass  water,  and  make  the  same  use  of  this  as  of  the 
other. 


SECRETS  IN’  ARTS,  TRADES,  &c. 


115 


XXVI.  The  method  of  applying  gold,  or  silver , in  shell , 
072  wood. 

Black  wood,  or  that  which  is  dyed  so,  is  the  fittest  to  admit 
of  this  operation.  The  method  of  applying  it  is  this. 

1.  Tike  a little  gum  adragant,  which  dilute  in  a good  deal 
of  water,  to  make  it  weak.  With  this  weak  gum  water  dilute 
your  gold  or  silver,  and  with  a pencil  lay  it  on  such  places  of 
your  work  as  receive  and  shew  the  light,  without  touching  on 
those  which  are  the  shades.  To  express  these,  touch  the  parts 
with  indigo  diluted  in  a very  weak  gum  arabic  water. 

?.  When  this  is  done,  lay  one  coat  of  drying  varnish,  made 
of  oil  of  spike  and  sandarac.  If  the  varnish  be  too  thick,  thin 
it  with  a little  oil ; and  in  mixing  it,  take  care  not  to  boil  it  so 
hard  but  you  may  bear  some  on  your  hand  without  scalding 
the  place. 

N.  B.  Have  attention  to  make  your  gum  waters  for  this 
sort  of  work  always  very  weak  ; otherwise  they  would  tarnish 
and  spoil  all  the  gold  or  silver. 

XXVII.  To  gild  sandy  gold. 

Take  any  colour,  and  grind  it  either  with  oil,  or  with  gum. 
Lay  a few  coats  of  it  or\  your  work,  according  as  you  think 
there  may  be  need  of  it.  When  dry,  lay  one  coat  of  size,  and 
while  it  is  still  fresh,  sift  some  brass  filings  on  it ; let  it^dry  so, 
and  varnish  it  afterwards. 

XXVIII.  Varnish  to  be  laid  on  gilding  and  silvering. 

Grind  verdigrease  on  marble,  with  common  water,  in  which 
you  have  infused  saffron  for  eight  hours. 

XXIX.  the  method  of  bronzing . 

Take  three  pennyworth  of  spal,  one  of  litharge,  a gill  of  lint- 
seed  oil,  and  boil  the  whole  to  the  consistence  of  an  unguent. 
Before  you  apply  it,  dilute  the  quantity  you  intend  to  make 
use  of  with  turpentine  oil,  and  lay  a coat  of  vermilion  on  the 
work  before  bronzing. 

XXX.  A water  to  gild  iron  with. 

1.  Put  in  a glass  bottle,  with  a pint  of  river  water,  one  ounce 
of  white  copperas,  and  as  much  of  white  alum  ; two  drachms 
of  ver  digrease,  and  the  same  quantity  of  common  salt.  Boil 


116 


SECRETS  IN  ARTS,  TRADES,  Ve. 


all  together  to  the  reduction  of  one  half.  Then  stop  the  bottle 
well,  for  fear  the  contents  should  lose  their  strength. 

2.  To  gild  the  iron  with  it,  make  it  red  hot  in  the  fire,  and 
plunge  it  in  this  liquor. 

XXXI.  To  make  the  fine  writing  gold . 

1.  Take  gold  in  shell,  and  sulphur,  in  the  proportion  of  ten 
drachms  of  this,  well  grinded  on  porphyry  and  amalgamated, 
to  every  sequin-worth  of  the  other.  Put  this  mixture  into  a 
proportionable  leather  bag,  in  which  work  it  continually  for 
the  space  of  two  days,  then  pour  all  into  a crucible,  and  burn 
it  on  a slow  fire.  This  done,  wash  what  remains  with  filtered 
lime  water,  and  by  filtration  also,  get  your  water  out  again 
from  the  composition.  If  after  this  operation,  you  do  not  find 
it  high  enough  yet  in  hue,  wash  it  again  and  again  in  the  same 
manner,  till  it  looks  fine. 

2.  To  apply  it,  dilute  some  bol  armenian  with  insinglass, 
and  write  what  you  please,  and  let  it  dry  ; then  apply  your 
gold,  and  when  dry  burnish  it. 

XXXII.  How  to  get  the  gold  or  diver  out  of  gilt  plate®, 

1.  Mix  together  one  ounce  of  aquafortis*  and  one  of  spring 
water,  with  half  an  ounce  of  common,  and  one  drachm  of 
ammoniac  salts.  Put  all  on  the  fire,  and  boil  it ; then  put  in 
the  plate  to  soak  from  which  you  want  to  get  the  gold  or  silver 
out.  A little  while  after,  take  your  plate  out,  and  scrape  it 
over  the  liquor. 

2.  The  gold  will  remain  suspended  in  this  regal-water  ; and 
to  make  a separation  of  them,  pour  in  it  double  the  quantity  of 
common  water ; or  again,  throw  a halfpenny  in  it,  and  boil  it, 
and  all  the  gold  will  fix  itself  to  it. 

XXXIII.  To  gild  paper  on  the  edge . 

1.  Beat  the  white  of  an  egg  in  three  times  its  quantity  of 
common  water,  and  beat  it  till  it  is  all  come  into  a froth.  Let 
it  setttle  into  water  again,  and  lay  a coat  of  it  on  the  edge  of 
your  paper. 

2.  Next  lay  another  of  bol  armenian  and  ammoniac  salt, 
grinded  with  soap  suds.  Then  put  the  gold,  and  let  it  dry, 
before  burnishing  it. 

XXXIV.  To  gild  on  vellum . 

Mix  some  saffron  in  powder  with  garlic  juice.  Put  two  of, 


SECRETS  IN  ARTS,  TRADES,  &c.  11V 

three  coats  of  this  on  the  vellum,  and  let  it  dry  a little,  but  not 
quite.  Then  breathing  on  the  coat,  apply  the  gold  leaf  with 
cotton  ; and  when  dry,  burnish  it. 

XXXV.  Another  way. 

Lay  first  a coat  of  lime  and  burnt  ivory,  grinded  together  with 
a weak  isinglass  water.  Apply  the  gold  on  it,  and  when  dry 
burnish  it. 

XXXVI.  Another  way. 

Grind  and  mix  together  four  ounces  of  bol  armenian,  one  of 
aloes,  and  two  of  starch  ; dilute  it  in  water,  and  lay  a coat  of 
it  on  the  vellum,  then  the  gold  immediately.  When  all  is  dry, 
burnish  it. 

XXXVII.  A gilt  without  gold . 

Take  the  juice  from  saffron  flowers,  in  the  season,  or  dry 
saffron  in  powder,  with  an  equal  quantity  of  yellow  orpine 
well  purified  from  its  earthy  particles.  Grind  all  well  togeth- 
er, and  put  it  a digesting  in  hot  horse  dung  for  the  space  of 
three  weeks.  At  the  end  of  that  term  you  may  use  it  to  gild 
whatever  you  like. 

XXXVIII.  To  gild  without  gold. 

Open  a hen’s  egg  by  one  end,  and  get  all  out  from  the  in- 
side. Refill  it  again  with  chalidonia’sjuice  and  mercury  ; then 
stop  it  well  with  mastich,  and  put  it  under  a hen  which  just 
begins  to  set.  When  the  time  of  hatching  is  come,  the  com- 
position will  be  done,  and  fit  for  gilding. 

XXXIX.  To  gild  on  calf  and  sheeji  skin . 

Wet  the  leather  with  whites  of  eggs.  When  dry,  rub  it 
with  your  hand,  and  a little  olive  oil  ; then  put  the  gold  leaf, 
and  apply  the  hot  iron  on  it.  Whatever  the  hot  iron  shall  not 
have  touched,  will  go  off  by  brushing. 

XL.  Gold  and  silver  in  shell. 

1.  Take  salt-petre,  gum  arabic,  and  gold  leaves,  wash  them 
all  together  in  common  water.  The  gold  will  sink  to  the  boN 
tom,  whence  pouring  the  water  off  you  may  then  put  in  the 
shell. 


,118 


SECRETS  IN  ARTS,  TRADES,  &c, 


2.  The  silver  is  worked  in  the  same  manner,  except  the  salt** 
petre,  instead  of  which  you  put  white  salt. 

XLI.  To  gild  marble . 

Grind  the  finest  bol  armenian  you  can  find  with  lintseed 
or  nut  oil.  Of  this  you  lay  a coat  on  the  marble,  as  a kind  of 
gold  size.  When  this  is  neither  too  fresh  nor  too  dry,  apply 
the  gold  ; and  when  thoroughly  dry  burnish  it. 

XLII.  To  afijily  gold  on  glazed  wares,  christal , glass, 
china , tfc. 

Take  a pennyworth  of  lintseed  oil,  and  as  much  of  gold  li- 
tharge ; a half-pennyworth  of  umber,  and  as  much  of  ceruse. 
Grind  all  together  on  marble,  and  with  a little  hair  pencil,  dip- 
ped into  the  said  colour,  draw  whatever  you  will  on  the  above- 
mentioned  wares.  As  soon  as  dry,  lay  your  gold  on  it  with 
cotton,  which  pass  along  your  cheek  before  taking  the  gold 
with  it.  And  as  soon  as  this  is  perfectly  dry,  burnish  it. 

XLIII.  Matt  gold  in  oil. 

Take  yellow  ochre,  a little  umber,  white  and  black  lead* 
which  grind  all  together  with  greasy  oil,  and  use  it  when  ne- 
cessary. 

XLIV.  To  dye  any  metal , or  stone , gold  colour , without 

gold . 

Grind  together  in  a subtile  powder  ammoniac  salt,  white 
vitriol,  saltpetre  and  verdigrease.  Cover  the  metal,  or  stone, 
you  want  to  dye,  all  over  with  this  powder.  Set  it  thus  cov- 
ered on  the  fire,  and  let  it  be  there  a full  hour  ; then  taking  it 
,out,  plunge  it  in  chamber  lye. 

XLV.  To  whiten  cofifier . 

Take  one  ounce  of  zinc,  one  drachm  and  a third  part  of  it  of' 
sublimed  mercury.  Grind  all  into  a powder,  then  rub  with  it 
what  you  want  to  whiten. 

XLVI.  To  whiten  silver  without  the  assistance  of  fire . 

Take  Mons  martirum7s  talo,  which  calcine  well  in  an  oven 
till  it  can  be  pulverised.  Sift  it  very  fine.  Then  clipping  # 
piece  of  cloth  or  stuff  in  it,  rub  the  silver  with  it. 


SECRETS  IN  ARTS,  TRADES,  &c. 

XLVII.  To  whiten  iron  like  silver . 


119 


Mix  ammoniac  salt  powder,  and  quick  lime,  in  cold  water. 
Then  make  your  iron  red  hot  several  times,  and  each  time, 
plunge  it  in  that  solution.  It  will  turn  as  white  as  silver. 


CHAP.  VIII. 

The  Art  of  Dying  Woods,  Bones,  &c. 


I.  The  composition  for  red . 

1.  /“NHOP  Brasil  wood  very  fine,  and  boil  it  in  common  wa- 
ter,  till  it  has  acquired  an  agreeable  colour,  then  strain 
it  through  a doth. 

2.  Give  your  wood  first  a coat  of  yellow,  made  of  saffron* 
diluted  in  water.  Then  the  wood  being  thus  previously  tinged 
with  a pale  yellow,  and  dried,  give  afterwards  several  coats  of 
the  Brasil  wood  water,  till  the  hue  pleases  you. 

S.  When  the  last  coat  is  dry,  burnish  it  with  the  burnisher* 
and  lay  another  coat  of  drying  varnish  with  the  palm  of  your 
hand,  and  you  will  have  a red  oranged  very  agreeable. 

4.  If  you  want  a deeper  red,  or  rather  a darker,  boil  the  Bra* 
sil  wood  in  water  impregnated  with  a dissolution  of  alum,  oft 
quick-lime. 

II.  Another  red* 

Soak  the  chopped  Brasil  wood  in  oil  of  tartar  ; and  with  If- 
r ub  your  wood,  proceeding  for  the  rest  as  above  directed. 


III.  Another  way* 

Pound  orchanetta  into  powder,  mix  it  with  oil  of  nut,  mate 
it  luke  warm,  and  rub  your  wood  with  it.  The  rest  as  above* 


IV.  To  dye  wood  of  a purplish  colour . 

Soak  Dutch  turnsol  in  water  ; add  a tincture  of  Brasil  wood 
made  in  lime  water,  and  you  will  obtain  a purple,  with  which 


120  SECRETS  IN  ARTS,  TRADES,  &c, 

V.  A blue  fiurfile . 

Take  that  sort  of  German  turnsol  which  painters  use  with 
size.  Dissolve  it  in  water  and  strain  it  through  a linen  cloth. 
Give  a coat  of  this  dye  to  the  wood ; and  if  the  hue  be  too 
strong,  give  it  another  of  a paler  dye,  by  adding  clear  water  to  a 
part  of  the  other.  When  dry,  burnish  it  as  usual. 

VI.  Another . 

Four  ounces  of  Brasil,  and  half  a pound  of  India  woods, 
boiled  together  in  two  quarts  of  water,  with  one  ounce  of  com* 
mon  alum. 

VII.  A blue  for  wood. 

Slack  lime  in  water,  and  decant  it  out  of  the  ground.  In 
three  pints  of  this  water  dissolve  four  ounces  of  turnsol,  and 
boil  it  one  hour.  Then  give  several  coats  of  it  to  your  wood. 

VIII.  A green . 

Grind  Spanish  verdigrease  into  a subtile  powder  with  strong 
vinegar.  Add  and  mix  well  with  this,  two  ounces  of  green 
vitriol.  Boil  all  of  it  a quarter  of  an  hour  in  two  quarts  of  wa- 
ter, and  put  your  wood  soaking  till  the  colour  be  to  your  liking. 
For  the  rest  proceed  as  above. 

IX.  A yellow. 

Dissolve  turnsol  in  two  quarts  of  water.  Then  grind  some 
Itjdigo  on  marble  with  that  water,  and  set  it  in  a vessel  on  the 
lire  with  weak  size  to  dilute  it  When  done  give  a coat  of  this 
dye  to  your  wood  with  a brush,  and  when  dry,  polish  it  with 
the  burnisher. 

X.  Another  yellow. 

Boil  in  water  some  grinded  terra  merlta , and  soak  your  wood 
in  it  afterwards. 

XI.  Another  finer  yellow . 

Four  ounces  of  French  berries,  boiled  for  about  a quarter  of 
an  hour  in  a quart  of  water,  with  about  the  bulk  of  a filbert  of 
roch-alum.  Then  soak  the  wood  in  it 


SECRETS  IN  ARTS,  TRADES,  See,  121 

XII.  To  dye  Wood  a fine  polished  white . 

Take  the  finest  English  white  chalk,  and  grind  it  in  subtile 
powder  on  marble,  then  let  it  dry,  and  set  it  in  a pipkin  on  the 
fire  with  a weak  sized  water,  having  great  care  not  to  let  it  turn 
brown.  When  it  is  tolerably  hot,  give  first  a coat  of  size  to 
your  wood,  and  let  it  dry ; then  give  one  or  two  coats  of  the 
aforesaid  white  over  it.  These  being  dry  also,  polish  with  the 
rushes  and  burnish  with  the  burnisher. 

XIII.  To  dye  in  polished  black . 

Grind  lamp  black  on  marble  with  gum  water.  Put  it  next 
in  a pipkin,  and  give  a coat  of  this,  with  a brush  to  your  wood  ; 
then  polish  it  when  dry. 

XIV.  Another  way . 

Soak  bits  of  rusty  iron  in  the  best  black  ink.  A few  days 
after  rub  your  wood  with  it,  and  when  you  see  it  well  penetra- 
ted and  dry*  palish  it  with  the  burnishers 

XV,  To  imitate  ebony . 

Infuse  gall-nuts  in  vinegar,  wherein  you  have  soaked  rusty 
nails  ; then  rub  your  wood  with  this,  let  it  dry,  polish  and  bur- 
nish. 

XVI.  Another  way . 

Chuse  a good  hard  wood,  and  not  veiny,  such  as  pear,  apple, 
or  hawthorn  trees,  and  blacken  them.  When  black,  rub  them 
with  a bit  of  cloth  ; then  with  a reed  brush,  made  on  purpose, 
dipped  in  melted  wax,  mixed  in  a pot  with  common  black,  rub 
your  wood  till  it  shines  like  ebony. 

XVII.  Another  way. 

Holly  is  a very  fit  sort  of  wood  to  take  the  dye  of  ebony. 
Form  it  first  into  the  shape  you  intend  to  give  it,  then  put  it 
in  a hatter’s  copper  to  boil,  leave  it  till  it  has  acquired  a per- 
fect degree  of  blackness.  Then  take  off  the  filth  of  the  dye, 
and  polish  it  as  you  would  ebony,  with  rushes,  &c. 

XVIII.  A fine  black  easily  made. 

Take  good  ink,  put  it  in  a stone  pan,  new  and  well  nealed, 


T22 


SECRETS  IN  ARTS,  TRADES,  Sec. 


then  set  it  in  the  sun  to  exficcate  it  into  a cake.  When  dry, 
take  and  scrape  it  out  from  the  pan  with  a knife,  and  grind  it 
into  an  impalpable  powder  on  marble.  This  powder  diluted 
with  varnish,  will  produce  a fine  black. 

XIX.  To  dye  wood  silver  fashion . 

Pound  tin  glass,  in  a mortar,  and  reduce  it  into  powder.  Add 
water  to  it  by  degrees,  till  it  come  into  a liquid  like  liquor  for 
painting.  Put  it  in  a clean  pipkin,  with  size,  and  set  it  on  the 
fire  to  warm.  Brush  your  wood  with  this  liquor,  and  when  it 
is  dry,  burnish  it. 

XX.  To  dye  in  gold , silver , or  copper . 

Pound  very  fine,  in  a mortar,  some  roch-chrystal  with  clear 
water,  set  it  to  warm  in  a new  pipkin  with  a little  size,  and  give 
a coat  of  it  on  your  wood  with  a brush.  When  dry,  rub  a piece 
of  gold,  silver,  or  copper,  on  the  wood  thus  prepared,  and  it 
will  assume  the  colour  of  such  of  these  metals  as  you  rub  it 
with.  After  this  is  done,  burnish  it  as  usual. 

XXL  To  give  nut , or  pear  tree , what  undulation  you 

like . 

Slack  some  quick  lime  in  chamber-lye.  Then  with  a brush 
dipped  in  it  form  your  undulation  on  the  wood  according  to 
your  fancy.  And  when  dry,  rub  it  well  with  a rind  of  pork. 

XXII.  To  imitate  the  root  of  nut-tree . 

Give  seven  or  eight  coats  of  size  to  your  wood,  till  it  remains 
shiny.  Then  before  your  size  is  quite  dry,  strike  here  and  there 
a confused  quantity  of  spots  with  bistre  grinded  with  common 
water.  When  dry,  varnish  it  with  the  Chinese  varnish. 

XXIII.  To  give  a fine  colour  to  the  cherry-tree  wood . 

Take  one  ounce  of  orchanetta  ; cut  it  in  two  or  three  bits, 
and  put  it  to  soak  for  forty-eight  hours  in  three  ounces  of  good 
oil  of  olive.  Then  with  this  oil  anoint  your  cherry-tree  wood 
after  it  is  worked  and  shaped  as  you  intend  it ; it  will  give  a 
fine  lustre. 


SECRETS  IN  ARTS,  TRADES,  Sec.  123 

XXIV.  To  marble  wood. 

1.  Give  it  a coat  of  black,  diluted  in  varnish.  Repeat  it  one, 
two,  three  or  as  many  times  as  you  think  proper  ; then  polish  it 

as  usual. 

2.  Dilute  some  white  varnish  made  with  white  gum,  or 
sired  lac,  and  white  sandarac.  Lay  this  white  on  the  black 
ground,  tracing  with  it  what  oddities  you  like.  When  dry, 
give  a light  rub  with  rushes,  then  wipe  it,  and  give  a last  coat 
of  fine  transparent  white  varnish,  in  order  to  preserve  the  bright- 
ness. Let  this  dry  at  leisure,  then  polish  it. 

XXV.  To  imitate  white  marble . 

Break  and  calcine  the  finest  white  marble  you  can  find ; grind 
it  as  fine  as  you  can,  and  dilute  it  with  size.  Lay  two  coats  of 
this  on  your  wood,  which,  when  dry,  polish  and  varnish  as  be- 
fore directed* 

XXVI.  To  imitate  black  marble . 

Burn  some  lamp  black  in  a shovel,  red  hot,  then  grind  it  with 
brandy.  For  the  bigness  of  an  egg  of  black,  put  the  size  of  a 
pea  of  lead  in  drops,  as  much  of  tallow,  and  the  same  quantity 
of  soap.  Grind  and  mix  these  together,  then  dilute  it  with  a 
very  weak  size  water.  Give  four  coats  of  this,  and  when  dry, 
polish  as  usual. 

XXVII.  A counter  faction  of  coral . 

1.  Reduce  goat’s  horns  into  a subtile  powder.  Put  it  in  a 
clear  lye  made  of  lime  and  pearl  ashes.  Let  it  there  rest  for  a 
fortnight.  When  reduced  into  a palp,  add  cinnabar  in  pow- 
der, or  dragon’s  blood  in  tears,  pulverised  very  fine,  in  what 
quantity  you  think  necessary  to  give  the  quantity  of  matter 
you  have  got  a fine  and  pefect  coral  hue. 

2.  Next  boil  this  composition  till  it  comes  very  thick,  then 
take  it  off  from  the  fire  and  mould  it  in  moulds  shaped  in  forms 
of  coral.  Or  else  cast  it  again  in  what  other  sorts  of  moulds 
you  like,  to  make  figures  of  it,  and  other  sorts  of  work,  which 
will  produce  a fine  effect. 

Observation . This  secret  was  worth  immense  sums  of  money 
to  him  who  found  it  out.  The  Turks  paid  them  magnificient- 
ly.  But  this  branch  of  trade  was  soon  put  to  an  end  by  the 
cheats  which  were  practised  with  the  merchants  of  Tunis  and 
Algiers. 


m SECRETS  IK  ARTS,  TRADES,  See. 

XXVIII.  To  take  the  impression  of  any  seal . 

1.  Take  half  a pound  of  mercury;  the  same  quantity  of 
chrystailine  vitriol ; as  much  verdigrease.  Pulverise  well  these 
two  last  ingredients,  and  put  them  along  with  the  first  in  a new 
iron  pan,  with  smith’s  forge  water.  Stir  all  well  with  a wood- 
en spatula,  till  the  mercury  is  perfectly  incorporated  with  the 
powders.  Then  wash  that  paste  with  cold  water  and  change 
it  till  it  remains  quite  clear  as  when  you  put  it  in.  Put  the 
lump  in  the  air,  it  will  harden. 

2.  When  you  want  to  take  the  impression  of  a seal  with  it, 
place  it  over  the  fire  on  an  iron  plate.  When  there  appears  on 
it  some  drops  like  pearls,  then  it  is  hot  enough ; take  it  off  and 
knead  it  in  your  hands  with  your  fingers,  it  will  become  pliable 
like  wax ; smoothen  one  side  of  it,  and  apply  it  on  the  seal, 
pressing  it  to  make  it  take  the  impression.  When  done,  lift 
it  up,  and  set  it  in  the  air,  where  it  will  come  again  as  hard  as 
metal,  and  will  serve  you  to  seal  the  same  letter  as  the  original 
seal,  without  probability  of  discovering  it,  should  even  the  real 
one  be  laid  on  it. 

XXIX.  .Another  way . 

Heat  some  mercury  in  a crucible,  and  silver  filings  in  another, 
in  the  proportion  of  two  parts  of  mercury  to  one  of  silver.  As 
soon  as  the  mercury  begins  to  move,  pour  it  on  the  silver  jfc 
lings.  Let  this  cool,  and  then  put  it  in  a glass  mortar.  Pound 
it  well  with  a pestle  of  the  same,  and  add  a little  water  in  which 
you  have  dissolved  some  verdigrease.  Stir  this  for  three  days, 
five  or  six  times  a day.  Decant  out  the  verdigrease  water,  and 
replace  it  with  good  vinegar,  with  which  pound  it  again  in  the 
same  mortar,  as  before,  a couple  of  hours,  changing  vinegar  as 
soon  as  it  blackens.  Pound  it  again  twTo  hours,  with  chamber- 
lye  instead  of  vinegar,  changing  it  the  same,  during  that  time, 
as  you  did  the  vinegar.  Then  take  that  matter,  lay  it  on  a 
wash-leather  skin,  which  bring  up  all  round  it,  and  tie  it  above 
with  a string.  Press  the  lump  well  in  that  skin,  so  as  to  sepa- 
rate and  squeeze  out  all  the  superfluous  mercury  which  passes 
through  the  leather.  When  none  comes  out,  open  the  skin, 
take  the  lump  in  your  hand,  and  knead  it,  and  smoothen  one 
side  of  it  to  take  the  impression  you  like,  proceeding  for  the 
rest,  as  above  directed.  It  hardens  in  the  air,  and  foftens  with 
the  heat  of  the  hand  as  you  would  do  a piece  of  wax. 

XXX.  To  get  birds  with  white  feathers. 

Make  a mixture  of  semper  •vivum  majus's  juice,  and  olive 


SECRET3  IN  ARTS,  TRADES,  &c 


m 


oil,  and  rub  with  it  the  eggs  on  which  the  hen  is  setting.  All 
the  birds  which  shall  come  from  those  eggs  will  be  white  feath- 
ered* 

XXXI.  To  soften  ivory . 

In  three  ounces  of  spirit  of  nitre,  and  fifteen  of  white  wine, 
or  even  mere  spring  water,  mixed  together,  put  your  ivory  a 
soaking.  And  in  three  or  four  days,  it  will  be  so  soft  as  to 
bey  under  the  fingers. 

XXXII.  To  dye  ivory  thus  softened . 

1.  Dissolve,  in  spirit  of  wine,  such  colour  you  want  to  dye 
your  ivory  with.  And  when  the  spirit  of  wine  shaii  be  suffi- 
ciently tinged  with  the  colour  you  have  put  in,  plunge  your  ivo- 
ry in  it,  and  leave  it  there  till  it  is  sufficiently  penetrated  with 
it,- and  dyed  inwardly.  Then  give  that  ivory  what  form  you 
will. 

2.  To  harden  it  afterwards,  wrap  it  in  a sheet  of  white  paper, 
and  cover  it  with  decrepitated  common  salt,  and  the  driest  you 
can  make  it;  in  which  situation  leave  it  twenty-four  hours. 

XXXIII.  Another  way  to  soften  ivory 

# 

Cut  a large  root  of  mandrake  into  small  bits,  and  infuse  first, 
then  boil  it  in  water.  Put  your  ivory  in  this  boiling  liquor,  and 
boil  it  too,  till  as  soft  as  wax. 

XXX IV.  To  whiten  ivory , which  has  been  spoiled . 

Take  roch-alum,  dissolve  it  in  water,  in  a sufficient  quantity, 
to  render  the  water  all  milky.  Boil  this  liquor,  and  soak  your 
ivory  in  it  for  one  hour,  then  rub  it  with  a hair  brush.  When 
done,  wrap  it  in  a wet  piece  of  linen  to  dry  it  leisurely  and  grad- 
ually, otherwise  it  would  certainly  split. 

XXXV.  To  whiten  green  ivory : and  whiten  again  that 
which  has  turned  of  a brown  y llow , 

1.  Slack  some  lime  in  water,  put  your  ivory  in  that  water, 
after  decanted  from  the  ground,  and  boil  it  till  it  looks  white. 

2.  To  polish,  set  it  on  the  turner’s  wheel,  aud  after  having 
worked  it,  take  rushes  and  pumice-stone  subtile  powder  with 
water,  rub  it  till  it  looks  perfectly  smooth.  Next  to  that,  heat 
it,  by  turning  it  against  a piece  of  linen,  or  sheepskin  leather, 

M 


126 


SECRETS  IN  ARTS,  TRADES,  Sec. 


and  when  hot,  rub  it  over  with  a little  whitening  diluted  in  oil 
of  olive,  continuing  turning  as  before ; then  with  a little  dry 
whitening,  and  a piece  of  soft  white  rag.  When  this  is  per- 
formed the  ivory  will  look  as  white  as  snow. 

XXXVI.  To  petrify  wood , tsfe. 

Take  equal  quantities  of  gem  salt,  roch-alum,  white  vinegar* 
calx,  and  pebbles  powder.  Mix  all  these  ingredients  together, 
and  there  will  happen  an  ebullition.  If,  after  it  is  over,  throw 
in  this  liquor,  any  porous  matter,  and  leave  it  there  soaking  for 
three,  four,  or  five  days,  they  will  positively  turn  into  petrifac- 
tions. 

XXXVII.  To  imitate  tortoiseshell  with  horn . 

Take  one  ounce  of  gold  litharge,  and  half  an  ounce  of  quick 
lime.  Grind  altogether,  and  mix  it  to  the  consistence  of  pap, 
with  a sufficient  quantity  of  chamber-lye.  Put  of  this  on  the 
horn,  and  three  or  four  hours  afterwards  it  will  be  perfectly 
marked. 

XXXIII.  A } Preparation for  the  tortoise  shell . 

Make  a mixture  as  above,  of  quick  lime,  orpine,  pearl  ashes, 
and  aquafortis.  Mixed  well  together,  and  put  your  horn  or 
tortoise  shell  soaking  in  it. 

XXXIX.  To  dye  bones  and  mould  them  in  all  manner 
of  shapes. 

1.  Boil  together  twelve  pounds  of  quicklime,  and  one  of  cal- 
cined roch-alum,  in  water  to  the  reduction  of  one  third.  Add 
two  more  pounds  of  quick  lime,  and  boil  it  again  till  it  can  car- 
ry an  egg  without  its  sinking  to  the  bottom.  Let  it  cool,  then 
filter  it. 

2.  Take  twelve  pounds  of  that  liquor;  half  a pound  of  rasped 
Brasil  wood,  and  four  ounces  of  scarlet  flocks;  boii  all  about 
five  minutes  on  a slow  fire,  then  decant  the  clearest  part  of  it, 
and  put  it  by.  Put  on  the  faces  of  Brasil  wood  and  scarlet  a- 
bout  four  pounds  of  the  first  water;  boil  it  the  same  time  as  the 
other,  and  decant  the  clearest  part  of  it  on  the  other.  Repeat 
this  operation,  till  the  new  added  water  draws  no  more  colour 
from  th q.  faces. 

3.  Now  rasp  any  quantity  of  bones,  and  boil  them  in  clear 
lime  water.  Then  take  them  out,  put  them  in  a matrass,  and 


SECRETS  IN  ARTS,  TRADES,  fce. 


12/ 


over  them  pour  some  of  the  tinged  water,  so  as  to  soak  them. 
Place  the  matrass  on  a mild  sand  bath  and  evaporate  the  liquor. 
Add  some  more  liquor,  and  evaporate  it  again,  continuing  to 
add  and  evaporate  the  tinged  liquor,  till  the  rasped  bones  are 
all  turned  into  a soft  paste. 

4,  Take  this  paste,  and  mould  it  as  you  like,  in  tin  or  other 
moulds,  to  make  whatever  thing  or  figure  you  want.  Set  it  in 
the  mould  fora  day  or  two,  till  it  acquired  the  shape  you  wish 
it;  to  harden  it  boil  it  in  a water  of  alum  and  salt-petre  first, 
afterwards,  in  oil  of  nut.  These  figures  look  incontestibly  to 
be  made  of  bones,  without  conceiving  how  they  can  be  made 
such,  out  of  that  matter,  and  in  one  solid  piece. 

XL.  To  dye  bones  in  black . 

Take  six  ounces  of  litharge,  and  the  same  quantity  of  quick 
lime.  Boil  all  in  common  water,  along  with  the  bones.  Keep 
stirring  till  the  water  begins  to  boil.  Then  take  it  out,  and  ne- 
ver cease  stirring  till  the  water  is  could  again;  by  that  time  the 
bones  will  be  dyed  black. 

XLI.  To  soften  bones. 

Take  equal  parts  of  Roman  vitriol,  and  common  salt.  Dis- 
til the  spirits  out  by  the  root.  If  in  the  water  you  get  from  the 
distillation,  you  put  the  bones  a*soaking,  they  will  become  as 
soft  as  wax. 

XLII.  To  dye  bones  in  green. 

Pound  well  together  in  a quart  of  strong  vinegar,  three  oun- 
ces of  verdigrease,  as  much  of  brass  filings,  and  a handful  of 
rue.  When  done,  put  ail  in  a glass  vessel  along  with  the  bones 
you  want  to  dye,  and  stop  it  well.  Carry  this  into  a cold  cel- 
lar, leave  it  for  a fortnight,  the  bones  will  be  dyed  green. 

XLI  II.  A salt  for  hardening  soft  bones. 

Take  equal  quantities  of  ammoniac,  common  decrepitated 
and  gem  salts,  as  well  as  of  plumeum  saccarinum , roch  and  shell 
alums.  Pulverise  and  mix  altogether,  then  put  it  in  a glass  ves- 
sel well  stopped,  which  bury  in  hot  horse  dung,  that  the  mat™ 
ter  should  melt  into  water.  Congeal  it  on  warm  embers.  Then 
make  it  return  into  a delequium  again,  by  means  of  the  horse 
dung,  as  before.  When  thus  liquified  for  the  second  time,  it 
is  fit  for  use.  Keep  it  to  harden  and  consolidate  any  thing, 
smear  it  over  with  it. 


428  SECRETS  IN  ARTS,  TRADES,  he. 

XLIV.  To  make  figures , or  vases , with  egg  shells ■. 

Pat  egg  shells  in  a crucible,  and  place  it  in  a potter’s  furnace, 
for  two  days,  that  they  may  there  be  perfectly  calcined,  then 
grind  them  dry  into  a subtile  powder. 

2.  Next,  with  gum-arabic  water  and  whites  of  eggs,  beaten 
together,  make  a liquor,  with  which  knead  that  powder,  an<J 
make  a paste  or  dough  of  it. 

3.  With  that  dough,  to  which  give  the  consistence  of  pot- 
ter’s clay,  make  and  form  whatever  figure  or  vase  you  like,  and 
set  them  in  the  sun  to  dry. 

XLV.  To  dye  bones  and  ivory  of  a fine  red. 

1.  Boil  scarlet  flocks  in  clear  water  assisted  with  pearl  ashes 
to  draw  the  colour  the  better  ; then  clarify  it  with  roch  alum, 
and  strain  this  tincture  through  a piece  of  linen. 

2.  To  dye  afterwards  any  bones  or  ivory  in  red,  you  must 
rub  them  first  with  aquafortis , and  th m immediately  with  this 
tincture. 

XLVI.  To  make  a paste  in  imitation  of  black  marble% 

Dissolve  two  ounces  of  spalt  on  a gentle  fire,  in  a glazed  pip- 
kin. When  in  perfect  fusion,  add  a third  part  of  harable,  ready 
melted,  stir  all  together.  When  both  are  well  mixed  and  uni- 
ted, take  the  pipkin  off  the  fire,  and  throw  the  contents,  boiling 
hot,  into  a mould  of  a fine  polish  in  the  inside.  When  cold 
and  dry,  take  the  piece  from  off  the  mould,  and  you  will  find 
that  nothing  can  imitate  so  well  black  marble  as  this  deceptive 
composition. 

XLVII.  To  dye  marble,  or  alabaster , blue  or  purple. 

1.  Pound  together  in  a marble  mortar,  parsnips  and  purple 
lillies,  with  a sufficient  quantity  of  white  wine  vinegar.  Pro- 
portion the  quantity  of  parsnips  and  lillies,  to  each  other,  ac- 
cording to  the  hue  you  wish  to  give  the  liquor.  If  you  cannot 
get  one  of  these  two  juices,  make  use  of  that  you  can  get ; and 
to  every  pound  of  liquor  mixed  and  prepared,  put  an  ounce  of 
alum. 

2.  In  this  dye  put  your  marble  or  alabaster,  and  boil  them, 
supposing  they  are  not  too  considerable  to  go  into  the  vessel 
with  the  liquor.  And  if  they  be,  you  must  heat  one  part  of  it 
as  much  as  you  possibly  can,  then  dye  it  with  the  liquor  boiling 
hot,  and  thus  proceed  from  place  to  place,  till  you  have  dyed 
it  all  over. 


SECRETS  IN  ARTS*  TRADES,  &c.  129 

XLVIII.  To  soften  amber , otherwise  Karabe , 

Melt  fine  white  and  pure  wax  in  a glass  vessel.  When  mel- 
ted, put  your  amber  in  it,  and  leave  it  there  till  you  find  it  soft 
to  your  satisfaction.  Then  take  it  out  and  give  it  what  form 
you  like.  To  harden  it  again  put  it  in  a dry  place  in  the  shade. 

XLIX.  To  whiten  ivory  which  has  been  spoiled . 

Take  a little  black  soap,  and  lay  it  on  the  ivory.  Present  it 
to  the  fire,  and  when  it  has  bubbled  a little  while,  wipe  it  off. 

L.  To  whiten  bones . 

Put  a handful  of  bran  and  quick  lime  together,  in  a new  pip- 
kin, with  sufficient  quantity  of  water,  and  boil  it.  In  this  put 
the  bones,  ancL  boil  them  all  till  perfectly  freed  from  greasy 
particles. 

LI.  To  dye  bones  in  green . 

Grind  well  a discretionable  quantity  of  verdigrease,  which 
you  put  with  vinegar  in  a copper  vessel,  and  the  bones  in  it. 
Cover  this,  and  lute  it  so  well  that  no  air  can  come  at  the  con- 
tents. Put  it  in  hot  horse  dung,  and  leave  it  there  for  a fort- 
night, after  which  time  take  your  bones  out;  they  will  be  co- 
loured of  a fine  green,  which  will  never  rub  off. 

LII.  To  bronze  wooden,  plaister,  ivory , or  other  figures 
so  that  the  bronze  may  stand  water  for  ever . 

1.  Grind  English  brown  red,  as  fine  as  possible,  with  nut  oil. 
With  this  paint  ail  over  the  figure  intended  to  be  bronzed,  and 
let  it  dry. 

2.  Have  next  some  powder  of  Germain  gold  in  a shell,  and 
in  another,  some  of  the  varnish  described  in  Art.  Ixiii.  Chap, 
iii  Dip  a pencil  in  the  varnish,  and  then  in  the  gold,  and  give 
as  smooth  and  equal  a coat  of  this  to  your  figure  as  you  can. 

3.  To  save  expence,  you  may  instead  of  the  gold,  take  some 
line  bronze  which  is  much  cheaper. 

LIII.  A water  to  dye  bones  and  wood. 

1.  Put  the  strongest  white  wine  vinegar  in  an  earthen  pan,  in 
which,  set  to  infuse  for  seven  days,  copper  filings,  Roman  vi- 
triol, roch  alum,  and  verdigrease. 

M 2 


130 


SECRETS  IN  ARTS,  TRADES,  &c. 


2.  In  this  liquor  put  a-boiling  what  you  want  to  dye,  and  it 
wili  take  the  colour  perfectly. 

3.  If  you  want  a red  dye,  instead  of  verdigrease  put  some 
red  ; if  yellow,  put  some  yellow,  fe  e.  according  to  the  colour 
you  may  require,  with  a discretionable  quantity  of  roch-alum 
for  eithe  . 

LIV.  To  dye  bones  and  ivory  an  emerald  green. 

Put  in  aquafortis  as  much  flos  aenei  as  it  can  dissolve  ; and  in 
that  water  put  a-soaking,  for  twelve  hours  only,  whatever  you 
want  to  dye,  and  they  will  take  the  colour  to  perfection  in  that 
space  of  time. 

LV.  To  whiten  alabaster  and  white  marble . 

Infuse  for  twelve  hours,  some  subtile  pumice  stones  powder, 
In  verjuice;  then  with  a cloth  or  a sponge,  wet  your  marble 
with  the  liquor,  and  it  will  become  perfectly  white. 

LVI.  To  dye  wood  vermilion  colour . 

Smoothen  and  rub  well  the  wood  first ; then  give  it  four  or 
five  coats  of  vermilion,  subtilely  pulverised,  and  diluted  with 
lime  and  curd  cheese-water.  When  dry,  polish  it  over  again 
with  rushes  and  oil  of  spike ; then  for  the  last  give  it  four  or 
five  coats  of  varnish,  made  with  harabe  (amber)  and  oil  of  spike 
and  let  it  dry. 

LVII.  To  soften  horn , so  that  you  may  cast  it  in  a mould 
as  melted  lead . 

Make  a strong  lye  with  equal  quantities  of  pearl  ashes  and 
quick  lime.  Rasp  your  horns,  and  put  these  raspings  in  that 
lye.  They  will  soon  turn  into  pap.  Then  put  in  this  pap 
whatever  colour  you  like,  and  cast  it  in  whatever  mould  you 
choose. 

Let  these  stand  in  the  mould  a day  or  two,  to  acquire  the 
shape  you  want,  more  perfectly,  and  to  harden  them,  boil  them 
in  a water  of  alum  and  salt  petre  first,  and  afterwards  in  oil  of 
»uts 


CHAP.  IX. 


How  to  cast  Figures  in  Moulds. 

I.  How  to  cast  figures  in  moulds . 

TAKE  one  pound  of  Paris  plaister,  and  an  equal  quantity 
of  bricks*  pounded  into  an  impalpable  powder ; join  to 
this  an  ounce  of  alumen  plumeum , and  one  of  ammoniac  salt. 
Dilute  all  together,  gradually,  in  clear  water,  without  observing 
it,  as  you  are  to  make  a paste  of  it  ; and  make  your  moulds 
with  it, 

II.  To  cast  a figure  in  bronze . 

1.  Make  a pattern  with  proper  clay,  mixed  with  sand,  to 
prevent  its  cracking  when  it  comes  to  dry. 

2.  When  the  pattern  is  completed,  mould  it  with  plaister 
while  it  is  still  damp,  because  in  drying,  the  parts  of  the  pat- 
tern shrink,  and  lose  their  fullness.  To  that  effect  begin  by  the 
bottom  part  of  the  figure,  which  cover  with  several  pieces,  and 
by  rows  ; as  for  example,  let  us  suppose  the  first  row  from 
the  feet  \o  the  knees  ; the  second  from  the  knees  to  the  begin- 
ning of  the  belly  ; the  third  from  the  beginning  of  the  belly  up 
to  the  pit  of  the  stomach,  from  thence  to  the  shoulders,  on 
which  lay  the  last  row,  which  is  to  contain  the  head.  Ob- 
serve, that  those  divisions  of  rows  admit  of  no  particular 
rule,  and  ought  to  be  entirely  determined  by,  and  adapted  to 
the  size  ot  the  figure.  For  when  the  pieces  are  made  too  con- 
siderable, the  plaister  works  too  much,  and  fatigues  itself, 
which  is  detrimental  to  its  taking  a true  and  precise  impression 
of  all  the  turns  and  shapes  of  the  figure.  So  that  at  any  rate, 
it  is  always  preferrable  to  make  the  pieces  of  the  mould  smaller 
than  larger. 

3.  Observe,  that  if  the  figure  you  are  moulding  has  got  any 
draperies,  or  ornaments,  which  require  a good  deal  of  trouble 
and  nicety,  you  cannot  help  making  a great  many  small  parts 
and  subdivisions  in  your  mould,  in  order  to  enable  you  to  strip 
them  off  the  figure  afterwards  with  more  facility.  Fix  little 
rings  to  assist  in  pulling  them  off  more  easily,  cover  them  all 
over  with  larger  pieces,  which  contain  several  of  the  little  ones* 

4.  When  the  mould  is  thus  made  and  completed,  let  it  rest 
till  it  is  perfectly  dry.  Then  before  using  it,  they  who  are 
curious  in  their  work  do  not  content  themselves  with  imbibing 


132 


SECRETS  IN  ARTS,  TRADES,  kc . 


it  inwardly  with  oil,  but  they  even  make  it  drink  as  much  wax 
as  it  can  soak,  by  warming  those  separate  pieces,  and  putting 
wax  in  them  to  melt.  In  doing  this,  it  renders  the  wax  work, 
which  is  to  be  cast  in  it,  finer  and  more  perfect.  If  you  imbibe 
the  mould  with  oil  only,  the  wax  figure  cast  in  such  a mould 
comes  out  a little  rough,  and  like  flour,  because  the  wTax  draws 
the  superficy  of  the  plaister,  and  in  reverse,  the  plaister  draws 
the  superficy  of  the  wax,  which  produces  a great  defect  in  the 
figure,  and  is  a great  obstacle  to  it  coming  out  from  the  mould 
as  it  should. 

5.  The  mould  being  thus  imbibed  with  wax,  if  you  want  it 
for  a bronze  figure,  assemble  all  the  small  parts  of  it,  each  in 
their  cases,  and  with  a brush  give  them  a coat  of  oil.  Then 
with  another  brush,  give  them  another  coat  of  wax,  prepared 
as  follows.  Six  pounds  of  wax,  half  a pound  of  hog’s  lard,  and 
a pound  of  Burgundy  pitch  Thispreparatian  of  the  wax  must 
be  regulated  according  to  the  country  and  season.  In  the  heat 
of  summer,  or  hot  climes,  as  Spain,  Italy  and  France,  wax 
may  be  used  alone,  as  it  keeps  naturally  soft,  and  the  drugs 
abovementioned  are  added  only  to  render  it  more  tra  table. — 
Of  this  wax,  prepared  or  natural,  lay  another  coat  in  the  hol- 
low of  the  mould,  to  the  thickness  of  a sixpenny  piece.  Then 
with  wax  made  in  flat  cakes,  of  the  thickness  of  a quarter  of  an 
inch,  more  or  less  according  to  that  you  are  willing  to  give 
your  metal,  fill  the  hollow  parts  of  the  mould  in  pressing  hard 
this  sort  of  wax  in  them  with  your  fingers.  When  filled,  have 
an  iron  grate,  larger  by  three  or  four  inches  every  way,  than  the 
plinth  or  basis  of  the  figure.  On  the  middle  of  that  grate  you 
erect  one  or  more  iron  bars,  contoured  agreeable  to  the  latitude 
and  situation  of  the  figure,  and  bored,  from  space  to  space, 
with  holes  to  pass  other  iron  rods  of  the  size  and  length  ne- 
cessary to  support  the  core  (in  French  ame  or  noyau)  of  what 
you  want  to  cast. 

6.  Formerly  they  used  to  make  their  cores  with  potter’s  clay 
mixed  with  hair  and  horse-dung,  well  beaten  together.  With 
this  compost,  they  formed  a figure  like  the  pattern  ; and  when 
they  had  well  supported  it  with  iron  bars,  length  and  cross 
ways,  according  to  its  position  and  attitude,  they  scraped  it, 
that  is  to  say,  they  diminished  and  took  olf  from  its  bigness 
as  much  as  they  wanted  to  give  to  their  metal.  When  that 
core  was  dry,  they  took  the  wax  with  which  they  had  filled 
the  hollow  parts  of  their  mould,  and  covered  it  with  them. — 
This  method  is  even  practised  now  by  some  founders,  espe- 
cially for  great  bronze  figures,  because  earth  resists  better  the 
power  of  that  red-hot  melted  metal,  than  plaister  %can  ; and 
this  they  reserve  only  for  small  figures,  and  those  which  are  cast 
in  gold  or  silver.  However,  when  plaister  is  well  beatem  and 
mixed  with  brick  dust  also  well  beaten  and  sifted  fine,  it$£&nds 


SECRETS  IN  ARTS,  TR  ADES,  8ce.  133 

pretty  well  too.  We  shall  therefore  proceed  on  the  method  of 
casting  on  plaister  cores. 

7-  You  take  then  the  first,  or  bottom  rows  of  the  mould, 
filled  by  the  last  wax  in  cakes,  as  mentioned  before,  and  as- 
semble them  on  the  iron  grate  round  the  principal  iron  bar 
which  is  to  support  the  core  when  made.  When  they  are 
joined  together,  you  give  them  a tie  round  very  hard  with 
cords,  lest  they  should  vary  from  their  position  when  you  form 
the  core . 

8.  To  form  this,  as  soon  as  the  first  set  which  completes  the 
bottom  row  of  the  separate  pieces  of  the  mould  is  fixed,  you 
pour  plaister,  diluted  very  clear,  and  mixed  with  brick-dust, 
with  which  you  fill  up  that  bottom  part  of  the  hollow.  Then, 
on  this  first  bottom  row  of  the  mould,  you  place  the  second 
in  the  same  manner  as  the  first;  then  fill  it  likewise  with  your 
prepared  plaister.  Continue  to  erect  your  mould  from  row  to 
row,  till  you  come  to  the  last,  and  fill  it  as  you  go  with  plais- 
ter, which  is  called  forming  the  core . If  the  figure  require  it, 
you  pass  across  the  core  some  iron  rods  through  the  holes  per- 
forated for  that  purpose  in  the  perpendicular  bars,  in  order  to 
support  the  core  the  better,  and  give  it  more  strength  and  pow- 
er to  resist  the  effort  of  the  metal  when  it  comes  in  fusion  upon 
it. 

9.  When  all  the  pieces  of  the  mould  have  been  thus  erected 
one  upon  another,  and  filled  with  plaister,  you  must  stop  a cer- 
tain time  to  let  it  take  a consistence,  then  proceed  to  take  off 
the  cases  and  all  the  smaller  parts  of  the  mould  contained  in 
each  of  them,  row  by  row,  and  one  by  one,  in  the  same  man- 
ner as  you  proceeded  to  erect  them,  with  this  difference,  that  in 
erecting  them  you  begin  at  the  bottom,  and  that  in  taking 
them  off  you  begin  at  the  top  ; which,  when  done,  leaves  the 
figure  to  appear  all  in  wax,  covering  the  core,  which  is  contain- 
ed in  the  inside  of  it. 

10.  Then  proceed  to  repair  the  figure,  and  finish  it  after  the 
original.  The  sculptor,  in  that  case,  has  even  an  opportunity 
of  perfecting  much  some  of  the  parts,  in  adding  or  taking  off, 
according  as  he  thinks  proper,  to  give  more  grace  and  expres- 
sion to  certain  strokes,  muscles,  or  features  only ; as  for  the 
disposition  of  the  limbs,  arid  their  attitude,  he  can  no  longer 
mend  or  alter  them. 

11.  The  figure  thus  well  prepared,  you  are  to  place  what  is 
called  the  pouring  and  the  •vent  holes . The  pouring  holes  arev 
wax  pipes,  of  an  inch  diameter  for  such  figures  as  are  of  a na- 
tural size  ;for  they  are  to  be  proportioned  not  only  to  the  size 
of  the  figure,  but  even  to  that  of  the  parts  of  that  figure 
whereon  they  are  placed.  The  vent  holes  are  wax  pipes  like- 
wise,  but  of  a much  lesser  size.  Those  pipes  are  cast  in 
plaister  moulds,  of  what  lengthyou  please,  then  cut  to  that  of 
four  or  five  inches,  or  thereabouts.  They  are  cast  hol-iow. 


134 


SECRETS  IN  ARTS,  TRADES,  &c. 


to  the  intent  of  rendering  them  lighter,  or  otherwise  they 
might  as  well  be  cast  solid.  Those  which  serve  for  pouring, 
are  placed  in  a straight  perpendicular  line,  one  above  another, 
at  six  incher  asunder,  and  sometimes  nearer,  when  there  are 
draperies,  and  much  matter  is  used. 

12.  When  the  various  pipes  are  placed  and  soldered  against 
the  fire,  with  wax,  so  that  the  end  which  is  free  should  be  up- 
wards, and  as  much  perpendicular  to  the  figure  as  possible, 
you  place  another  pipe  of  the  same  size  quite  perpendicular, 
which  is  to  be  fixed  against  every  one  of  the  ends  of  the  others. 
All  these  pipes,  both  large  and  small,  serve  for  the  pouring  of 
the  matter  and  casting  of  the  figure.  You  are  to  place  three 
or  four  of  them  generally  round  the  figure,  which  is  determined 
by  its  size,  bulk,  and  disposition. 

* 13.  But  at  the  same  time  you  are  placing  the  pouring  holes, 
you  must  not  neglect  placing  also  those  which  are  to  serve  for 
the  vent.  These  last  are  to  be  placed  in  the  same  line  as  and 
with  the  others,  at  the  distance  of  four  inches  only  from  them, 
and  fixed  likewise  by  one  end  to  the  figure,  and  by  the  other 
to  another  long  and  perpendicular  pipe,  like  those  for  pouring. 
Now,  as  it  is  necessary  that  all  the  wax,  when  you  come  to 
melt  it,  should,  as  we  shall  mention  it  in  its  place,  come  out 
entirely  from  the  mould,  you  must  not  fail  to  place  these  sorts 
of  vent  pipes  on  all  the  rising  and  distant  parts  from  the  mean 
bulk  of  the  figure,  such  as  the  arms,  fingers,  draperies,  See.  See, 
from  which  the  wax  must  be  got  out  with  facility,  either  by 
means  of  particular  vent  holes,  so  formed  as  to  decend  to  the 
bottom  of  the  figure,  or  by  means  of  those  large  ones  placed 
perpendicularly  along  the  side  of  it.  Observe,  always,  to  make 
the  pouring  holes  which  come  to  the  face  and  hands  the  smal- 
lest of  any,  that  they  may  not  affect  too  much  the  features  and 
likeness,  if  any  be  intended,  of  those  parts;  and  that  you  may 
the  more  easily  repair  those  places  with  the  chisel,  when  they 
are  finished. 

14.  After  these  arious  pipes  have  been  thus  carefully  fixed 
all  about  the  figure,  you  must  so  place  them  that  two  of  the 
main  perpendicular  ones  should  join  together  at  five  or  six  in- 
ches  higher,  and  above  the  upper  part  or  it,  and  be  terminated 
by  a wax  cup  of  four  inches  deep,  and  as  much  diameter,  un- 
der, and  at  the  bottom  part  of  which  you  solder  them.  This 
cup  serves  as  a funnel  to  receive  the  metal,  and  introduces  it 
into  the  pouring  holes,  by  means  of  its  communication  with 
them,  to  convey  it  afterwards  into  all  the  parts  of  the  figure  at 
once,  and  form  it.  Therefore,  if  there  be  four  perpendicular 
ascending  pipes,  you  make  two  such  cups,  to  communicate 
the  metal  to  these  pipes. 

15.  As  for  the  vent  holes,  let  them  free  above  the  top  of  the 
figure,  and  higher  than  the  pouring  ones,  because  they  want  no 
cups. 


SECRETS  IN  ARTS,  TRADES,  See. 


135 


16.  When  the  wax  figure  is  thus  completely  repaired  and 
garnished,  with  all  its  pouring  and  vent  holes,  you  prepare  a 
composition  of  putty,  and  crucibles  powder,  well  grinded,  and 
sifted  very  fine,  which  you  dilute  clear  in  a pan,  like  a colour 
for  painting.  With  a brush  take  this  composition,  and  cover 
all  the  figure,  as  well  as  the  vent  and  pouring  pipes.  This  op- 
eration you  repeat  several  times,  observing  carefully  to  fill  up 
all  the  cracks  and  crevices  which  may  happen  in  drying,, 
When  the  wax  is  thus  perfectly  covered  every  where,  you  put 
with  the  same  brush,  another  composition  thicker  than  the  firsts 
and  of  a stronger  sort. 

17.  This  composition  is  made  of  the  same  materials  as  the 
other,  but  with  this  addition,  that  you  mix  some  free  earth  a- 
long  with  it,  and  horse-dung,  quite  clear  from  any  straw.  Af- 
ter having  given  six  or  seven  coats  of  this,  you  give  another 
coat  again,  much  thicker  still,  of  a stuff  composed  of  nothing 
but  free  earth  and  horse  dung,  and  this  being  dry,  you  give 
half  a dozen  more  of  the  same,  allowing  time  between  each  to 
dry.  At  last,  you  put  with  your  hand,  and  no  more  with  the 
brush,  two  other  coats  of  this  same  last  composition,  of  free 
earth  and  horse-dung,  mixed  in  form  of  mortar,  observing  al- 
ways that  the  one  should  be  perfectly  dry,  before  laying  on  the 
other  ; and  that  there  should  be  no  part  of  the  figure,  whether 
naked  or  draperies,  but  what  is  equally  covered  with  every  one 
of  the  different  coats  we  have  mentioned. 

18.  Next  to  this,  you  must  have  flat  iron  bars  turned  and 
bent  according  to  the  disposition  of  the  figure,  which  being  fix- 
ed by  means  of  hooks  at  the  sides  of  the  grate  on  which  it 
stands,  rise  up  as  high  as  the  pipes,  and  joining  close  to  the 
mould,  unite  at  top  by  means  of  a circle  of  iron  which  runs 
through  all  the  hooks,  by  which  these  bars  are  terminated* 
Then  you  surround  again  the  figure  with  other  iron  bars, made 
in  form  of  hoops,  to  prevent  the  others  which  go  from  top  to 
bottom,  and  to  which  they  are  fixed  by  means  of  wires,  from 
giving  way  ; and  between  every  one  of  these  bars,  both  per- 
pendicular and  horizontal,  there  must  be  no  more  than  seven  or 
eight  inches  distance  allowed. 

19.  When  all  these  bars  are  well  fixed  together,  and  enabled 
thereby  to  support  and  contain  the  mould,  you  take  a compost 
of  free  earth,  horse-dung  and  hair  mixed  together,  in  consistence 
of  mortar,  and  with  this  you  cover  the  mould  and  the  bars  all 
over,  without  attending  any  more  to  the  shape  of  the  figure,  so 
that  there  appears  no  more  but  a shapeless  lump  of  clay,  which 
ought  to  be  of  about  four  or  five  inches  thick. 

20.  When  the  mould  is  thus  completed,  you  are  to  dig  a 
square  pit  sufficiency  deep  for  the  top  of  the  mould  to  be 
somewhat  lower  than  the  superfice  of  the  ground  where  the 
pit  is  dug,  and  sufficiently  wide  also  to  allow  room  of  a foot 


136 


SECRETS  IN  ARTS,  TRADES,  &c. 


and  a half,  free  all  round  the  mould,  when  descended  into  it. 
At  the  bottom  of  that  pit,  you  construct  a furnace,  on  the  top 
of  which  there  is  to  be  a strong  iron  grate,  supported  by  the 
arches  and  wall  of  the  furnace,  which  is  to  be  made  of  stone  or 
bricks,  as  well  as  the  four  sides  of  the  pit  from  top  to  bottom. 

' 1.  After  the  grate  is  placed  on  the  furnace,  you  descend  the 
mould  on  it  by  means  of  engines.  Then  Under  the  pipes  which 
are  to  serve  for  pouring,  as  well  as  vent,  you  place  pans  to  re- 
ceive the  wax  which  is  to  run  off.  This  done,  you  light  a mid- 
dling fire  to  heat  the  figure,  and  all  the  place  where  it  stands, 
with  so  moderate  a heat,  that  the  wax  may  melt  without  boil- 
ing, and  come  entirely  out  from  the  mould,  without  there  re- 
maining any  part  of  it ; which  would  not  be  the  case  if  the  heat 
be  so  great  as  to  make  it  boil,  for  then  it  would  stick  to  the 
mould,  and  cause  defects  in  the  figure,  when  you  come  to  run 
the  metal.  When,  therefore,  you  judge  that  all  the  wax  is  out, 
which  you  may  know  by  weighing  that  you  employed,  and 
weighing  it  again  after  it  is  in  the  pans,  you  take  these  off,  and 
stop  the  pipes,  through  which  it  came  out,  with  clay.  Then 
fill  all  the  empty  parts  of  the  pit  round  the  figure  with  bricks, 
which  you  throw  in  gently,  but  without  order ; and  when  it  is 
come  up  to  the  top,  make  a good  brisk  fire  in  the  furnace.  As 
the  flame  is  interrupted  by  these  bricks,  it  cannot  ascend  with 
violence,  nor  hurt  the  mouid,  and  they  only  communicate  their 
heat  in  going  through  all  those  bricks,  which  become  so  hot, 
that  they  and  the  mould  are  at  last  both  red  hot. 

22.  Twenty -four  hours  after  the  fire  has  been  lighted,  when 
you  see  that  the  bricks  and  the  mould  are  equally  red  hot  from 
top  to  bottom,  you  let  the  fire  go  out,  and  the  mould  cool,  by 
taking  all  the  bricks  off.  When  there  is  no  more  heat  at  all, 
you  throw  some  earth  in  the  pit,  to  fill  the  place  which  had 
been  occupied  with  the  bricks  ; and  in  proportion  as  you  throw 
it  in,  you  tread  it  with  your  feet,  and  press  it  against  the 
mould. 

23.  In  order  to  melt  the  metal,  you  construct,  just  by  the 
pit  where  the  mould  is,  a furnace,  the  lower  part  of  which 
ought  to  be  higher  by  two  or  three  inches  than  the  top  of  the 
said  pit,  in  order  to  obtain  a sufficient  declivity  from  it  to  the 
pit  for  the  running  of  the  metal.  Its  construction  must  be  af- 
ter the  form  of  an  oven,  with  good  bricks  and  free  earth,  and 
supported  by  good  and  strong  iron  hoops.  There  is  a border 
raised  all  round,  so  as  to  make  it  capable  to  contain  all  the  me- 
tal which  is  intended  to  be  melted  in  it.  On  the  side  which 
looks  towards  the  pit,  there  is  an  opening,  which  is  stopped 
during  the  melting  of  the  metal;  and  from  that  opening  comes 
an  earthen  funnel  practised,  which  goes  to  a bason  of  good 
free  earth  placed  over  the  mould,  and  middle  of  which  corres- 
ponds and  communicates  to  those  cups  we  have  mentioned 


SECRETS  IN  ARTS,  TRADES,  &c,. 


W 

before.  (No.  14.)  This  bason  is  called  by  the  workmen  eschem . 
And  in  order  to  prevent  the  metal  from  running  into  these 
cups,  before  the  whole  which  is  in  the  furnace  is  run  into  the 
escheno , there  are  men  on  purpose  who  hold  a long  iron  rod 
terminated  by  one  end  in  the  form  of  these  cups,  and  stop 
them. 

24.  When  the  metal  is  melted,  you  unstop  the  opening  of 
the  furnace  in  which  it  is  contained  . this  runs  into  the  escheno f 
and  as  soon  as  it  is  arrived,  the  men  take  off  the  rod  with  which 
they  stopped  the  cups,  and  the  mould  being  instantly  filled  all 
over,  the  figure  is  formed  in  one  moment. 

25.  After  the  mould  is  thus  filled  with  the  metal,  you  let  it 
stay  in  that  situation  for  three  or  four  days,  then  at  leisure, 
you  take  off  the  earth  which  had  been  thrown  all  around  it, 
which  helps  the  mould  to  become  entirely  cold.  As  soon  as 
you  are  sure  there  is  no  more  heat,  you  break  the  mould,  and 
the  metal  figure  appears  surrounded  with  rods  of  the  same 
metal,  starting  out  from  it,  occasioned  by  the  vent  and  pour- 
ing holes,  or  pipes,  through  which  the  metal  was  introduced, 
and  which  remained  filled  with  it.  These  you  must  saw  off, 
in  order  to  unburden  the  figure  of  so  much,  and  get  it  out  of 
the  pit  more  easily.  Then  you  clean  and  scour  with  water 
and  grinding-stone  in  powder,  and  pieces  of  deal  or  other  sort 
of  soft  wood,  and  you  search  in  all  the  hollow  places  of  the 
draperies  and  other  parts. 

26.  When  the  figures  are  small,  they  are  generally  washed 
with  aquafortis ; and  when  it  has  operated,  you  may  wash  them 
again  with  common  water.  When  they  are  thus  well  cleansed, 
you  repair,  finish,  and  fault  those  which  require  to  be  treated' 
more  highly  than  others;  for  the  large  ones  are  seldom  search’ 
ed  so  minutely. 

27.  After  they  have  been  as  much  finished  as  they  are  inten- 
ded to  be,  you  may  give  them,  if  you  like,  a colour,  as  some  do, 
with  oil  and  blood-stone.  Or,  as  some  others  practise  it,  you 
may  make  them  turn  green  by  means  of  vinegar.  But  without 
all  that  trouble,  the  bronze  will  in  time  take  a natural  varnish 
of  itself,  and  becomes  of  a blackish  hue. 

III.  How  to  gild  such  sorts  of 'figures. 

1.  They  may  be  gilt  two  different  ways;  either  with  gold  in 
shells,  or  with  gold  in  leaves.  The  first  method  is  the  handsom- 
est, and  at  the  same  time  the  most  lasting,  it  being  always  used 
for  small  sized  works.  To  apply  it,  you  make  a mixture  of  one 
part  of  the  best  gold,  and  seven  of  mercury,  which  founders  call 
silver  in  that  sort  of  process.  When  these  are  incorporated  to- 
gether, you  then  heat  the  figure,  and  rub  it  with  the  compos!- 

N 


138 


SECRETS  IN  ARTS,  TRADES,  &e. 


tion,  which  whitens  it,  and  heating  it  again  over  the  fire,  the 
mercury  exhales,  and  the  figure  remains  gilt. 

2.  As  for  the  other  method,  it  is  only  for  large  sized  worjcs, 
and  them  on  which  one  is  not  willing  to  make  a great  expenc^, 
you  scrape  the  figure  with  small  files,  and  other  proper  tools, 
make  it  quick  and  clean,  then  you  heat  and  lay  on  a gold  leaf, 
repeating  this  four  times. 

IV.  Of  the  choice  and  composition  of  metals . 

Any  metal  whatever  may  be  used  for  the  casting  of  figures, 
though  the  general  composition  runs  as  follows. 

1.  For  the  fine  bronze  figures,  the  alloy  is  half  brass,  half  cop- 
per. The  Egyptians,  who  are  said  to  be  the  inventors  of  that 
art,  used  to  employ  two  thirds  of  brass  against  one  of  copper. 

2.  Brass  is  made  with  copper  and  calamine.  One  hundred 
weight  of  calamine  renders  one  hundred  per  cent.  Calamine  is 
a stone  from  which  a yellow  dye  is  drawn.  It  is  to  be  found  in 
France  and  at  Leige. 

S.  Good  copper  ought  to  beaten,  not  molten,  when  intend- 
ed for  statutes.  You  must  guard  also  against  using  putty, 
when  in  alloy  with  lead. 

4.  Copper  may  be  forged  either  hot  or  cold.  But  brass 
breaks  when  cold,  and  suffers  the  hammer  only  when  hot. 

5.  There  is  a sort  of  metallic  stone  called  zinc,  w’hich  comes 
from  Egypt;  it  renders  the  copper  of  a much  finer  yellow  than 
the  calamine ; but  as  it  is  both  dearer  and  scarcer,  they  are  not 
so  ready  to  use  it. 

6.  As  for  the  composition  for  making  of  bells,  it  is  twenty 
pounds  weight  of  pewter  for  each  hundred  of  copper.  And  the 
artillery  pieces  take  but  ten  pounds  only  of  pewter  to  one  hun- 
dred of  the  other.  This  last  composition  is  not  good  for  the 
casting  of  figures,  as  it  is  both  too  hard  and  too  brittle.. 


139 


, CHAP.  X. 

Secrets  relative  to  the  making  of  curious  and 
useful  sorts  of  Ink. 

I.  A good  shining  ink . 

1,  four  quarts  of  warm  water  in  a glazed  pipkin.  Add 

Jl  eight  ounces  of  turpentine  oil,  and  one  pound  of  gall- 
nuts  bruised  in  a mortar.  Let  the  whole  infuse  thus  for  a week, 
then  boil  it  gently,  till  with  a pen  you  may  draw  a stroke  yellow 
and  shiny  with  it.  Strain  it  through  a strong  cloth.  Set  it  on 
a blasting  fire,  and  as  soon  as  it  boils,  add  seven  ounces  of  green 
vitriol  to  it,  keep  stirring  it  with  a stick  till  it  is  perfectly  dis- 
solved. Let  this  rest  for  two  days,  without  disturbing  if. 
There  will  be  a skim  on  the  top,  which  must  be  thrown  off. 
Decant  next  the  clearest  part  into  another  vessel,  which  you  set 
on  a gentle  fire,  to  evaporate  about  two  fingers  of  the  liquor, 
then  let  it  rest  four  or  five  days,  and  it  will  be  fit  for  use. 

2.  Rain  water,  or  that  in  which  walnuts  have  been  infused, 
are  both  very  good  for  making  of  ink. 

3.  With  white  wine,  or  old  beer,  you  may  likewise  make  ve- 
ry good  shining  ink. 

4.  A carp's  gall  is  very  proper  to  mix  among  it. 

II.  To  write  on  grease , arid  make  the  ink  run  on  it. 

1.  Cut  a bullock's  gall  open  into  a pan,  and  put  a handful  of 
salt  and  about  a quarter  of  a pint  of  vinegar  to  it,  which  you 
stir  and  mix  well.  Thus  you  may  keep  the  gall  for  twelve 
months,  without  its  corrupting. 

2.  When  you  are  writing,  and  you  find  your  paper  or  parch- 
ment greasy,  put  a drop  of  that  gall  among  your  ink  in  the  ink- 
horn,  and  you  will  find  no  more  difficulty  to  make  your  pen 
mark. 

III.  An  ink-stone,  with  which  ink-stands  may  be  made 5 
and  with  which  you  may  write  without  ink. 

1.  Take  gum  arabic,  fourteen  ounces;  lamp  black,  thirteen ; 
and  burnt  willow  wood  coals,  three.  Pound  the  gum  into  a a 
impalpable  powder,  and  dissolve  it  into  a pint  of  common  water. 
This  done^  knead  your  abovementioned  powders  with  part  of 


140 


SECRETS  IN  ARTS,  TRADES,  &e. 


this  gum  water,  so  as  to  make  a paste  or  dough  of  them,  as  it 
were  for  bread.  With  this  dough  form  ink-stands,  of  the  shape 
and  form  you  like  best,  and  in  these  ink-stands,  while  the  com- 
position is  still  soft,  you  may  stamp  a few  small  holes. 

2.  This  done,  dry  these  stands  in  an  ardent  furnace  for  four 
hours,  or  in  the  shade,  a sufficient  time.  When  dry,  brush  them 
over  with  your  aforementioned  gum-water,  till  they  appear  as 
black  and  shiny  as  jet,  and  as  hard  as  marble. 

3.  When  you  want  to  use  them,  put  a few  drops  of  water  in 
one  of  the  holes,  and  put  a pen  to  soak  in  it  at  the  same  time. 
If  the  water  be  but  just  put  in,  the  ink  will  not  be  quite  so  black ; 
but  if  it  have  remained  a little  while,  it  will  be  as  black  as  the 
blackest  of  any  inks. 

IV.  write  with  common  dear  water . 

Take  gall  nut  powder,  and  vitriol  calcined  in  the  sun  to  white- 
ness, of  each  four  ounces,  and  sandarak,  one  and  a half.  All 
being  pulverised  and  mixed,  rub  your  paper  with  that  powder; 
then  steeping  your  pen  in  any  common  water,  and  writing  with 
it,  it  will  appear  black  like  any  other  ink. 

V.  A good  ink , both  for  drawing  and  writing . 

1.  Bruise  with  a hammer  one  pound  of  gall-nuts,  and  put  it 
to  infuse  for  a fortnight  in  the  sun,  in  two  quarts  of  clear  water, 
stirring  it  now  and  then.  Strain  this  infusion  through  a sieve 
or  cloth  in  a glazed  pipkin. 

2.  In  another  vessel  put  two  ounces  of  gum-arabic,  and  half 
of  the  above  infusion.  In  the  other  half  which  remains  to  dis- 
solve two  ounces  and  a half  of  German  green  vitriol,  and  let  it 
infuse  for  four-and- twenty  hours.  Join  afterwards  both  infu- 
sions together ; and  a week  afterwards,  or  thereabouts,  the  ink 
will  be  very  good,  and  fit  for  use. 

VI.  To  make  very  good  ink  without  gall-nut s,  which  will 

be  equally  good  to  wash  drawings  a?id  plans , and 

strike  very  neat  lines  %vith  the  pen . 

1.  In  half  a pound  of  honey  put  one  yolk  of  an  egg,  and  beat 
it  a good  while  with  a flat  stick.  Then  asperse  the  matter  over 
with  three  drachms  of  gum  arabic  in  subtile  powder.  Let 
this  stay  about  three  days,  during  which,  beat  it  often  with  a 
stick  of  walnut-tree  wood. 

2.  Next  to  this,  put  to  it  such  a quantity  of  lampblack  as 
will  make  it  in  consistence  of  a dough,  which  you  make  in 
cakes,  and  dry  it  in  the  air,  to  render  it  portable. 


SECRETS  IN  ARTS,  TRADES,  &c. 


141 


3.  When  you  want  to  use  it,  dilute  it  with  water,  or  with  a 
lye  made  either  of  vine-wood  ashes,  or  walnut  tree,  or  oak,  or 
even  peach-stones. 

VII.  A n invisible  ink . 

1.  Dissolve  one  ounce  of  ammoniac  salt  in  a glass  tumbler 
of  water,  and  write.  When  you  wish  to  make  the  writing  ap- 
pear, hold  the  paper  to  the  fire,  and  it  will  become  black. 

2.  The  same  may  be  done  with  the  juice  of  an  onion. 

VIII.  Another  way. 

Dissolve  some  alum,  and  write  with  the  liquor.  Steep  the 
paper  in  water,  and  the  writing  will  appear  white. 

IX.  To  make  good  India  ink . 

Burn  some  lamp-black  in  a crucible  till  the  fume  which  a- 
rises  in  doing  it,  has  entirely  subsided  ; grind  it  next  on  por- 
phry,  or  marble,  with  a pretty  strong  water  of  gum-tragacanth. 
Add  an  equal  quantity  of  indigo  burnt,  and  grinded  in  the  same 
manner.  Then  mix  them  both  together  on  the  stone,  and 
grind  them  for  two  hours.  Gather  up  the  composition,  in  a 
flat  square,  of  the  height  and  thickness  you  are  willing  to  give 
to  your  sticks.  Cut  these  with  a knife  to  your  intended  size, 
and  put  them*  if  you  chuse,  into  an  iron  mbyld ; and  lest  the 
paste  should  stick  to  them,  rub  the  inside  of  the  mould  with 
lamp  or  ivory  black,  or  with  peach  stones  dust,  which  you 
burn  in  a crucible  stifled  with  a brick  to  stop  it  well. 

X.  Red  ink . 

Dissolve  half  an  ounce  of  gum-arabic  in  three  ounces  of  rose 
water.  Then  with  this  water,  dilute  cinnabar,  vermilion,  or 
mimium. 

Ink  of  any  colour  may  be  made  in  the  same  manner,  by  sub- 
stituting only  a proper  colouring  ingredient  to  the  aformen- 
tioned  cinnabar,  &c . 

XI.  A green  ink . 

Grind  together  verdigrease  saffron,  rue  juice,  then  dilute 
this  paste  in  the  above-mentioned  gum  rose  water. 


N 2 


142  SECRETS  IN  ARTS,  TRADES,  &c, 

XII*  To  make  an  ink  which  appears  and  disappears  al- 
ternately. 

Write  with  an  infusion  of  gall-nuts  filtered  through  brown 
paper,  and  the  writing  will  not  be  visible.  When  you  want 
to  make  it  appear,  steep  a little  sponge,  or  bit  of  cotton,  into 
an  infusion  of  vitriol,  and  pass  it  over  the  written  place  of  the 
paper  ; the  writing  will  immediately  appear.  To  rub  it  off, 
and  make  the  paper  look  all  white  again,  do  the  same  with  the 
spirit  of  vitriol,  and  all  the  writing  will  be  gone,  to  make  it 
visible  again,  rub  the  paper  over  with  oil  of  tartar ; and  thus 
continue  for  ever. 

XIII.  The  invisible  method  of  conveying  secrets ? 

1st.  Ink. 

Infuse  for  twenty-four  hours,  half  an  ounce  of  gold  litharge 
in  half  a pint  of  distilled  white  wine  vinegar,  and  shake  the 
bottle  often  during  the  first  twelve  hours  of  the  infusion.  When 
all  is  well  settled,  decant  the  clear  part  into  another  phial, 
which  you  must  stop  carefully,  and  throw  the  faeces  away. 

If  you  have  any  secret  to  communicate  to  a friend,  write  it 
with  this  liquor,  and  it  will  be  no  more  visible  that  if  you  wrote 
it  with  clear  pump  water. 

XIV.  An  ink  10  write  over  the  other . 

2d.  Ink. 

Over  the  secret,  written  with  the  first  invisible  ink,  you 
Write  any  indifferent  matter  with  the  following  composition. 

Burn  some  corks  in  the  fire ; and  when  they  are  so  tho- 
roughly burnt  as  to  blaze  no  more,  put  them  into  a bason,  and 
soak  them  with  brandy  ; then  grind  them  into  a paste,  which 
when  you  want  to  use,  you  dilute  with  distilled  water,  till  it  is 
lit  to  write  with  like  any  other  ink. 

XV.  Another  ink  which  effaces  the  second , and  makes 
first  appear . 

Sd.  Tnk. 

Dilute  rose  water  and  sorrel  juice  separately.  Put  half  a 
pint  of  each  together  in  a bottle,  with  two  ounces  of  quick 
lime,  and  one  of  apripigment.  Stir  this  well,  now  and  then, 
and  let  it  infuse  during  twenty-four  hours,  as  you  did  the  first. 
Decant  the  dear  part,  and  tldow  the  grounds  away. 

When  you  want  to  find  out  what  was  written  with  the  first 
invisible  ink,  and  which  lies  concealed  under  the  second  black 


SECRETS  IN  ARTS,  TRADES,  See  143 

one  steep  a sponge  into  this  present  liquor,  and  passing  quickly 
over  every  line  ; what  was  written  in  black  vanishes  at  one 
stroke,  and  what  was  invisible  appears  in  its  stead  as  black,  and 
as  much  effaceable  as  if  written  with  common  ink. 

XVI.  An  ink  which  will  go  off  in  six  clays. 

Write  with  willow-wood  cinders,  pulverised  and  diluted 
with  common  water. 

XVII.  Another  which  you  may  rub  off  when  you  fdease . 

Dilute  gun-powder  in  common  water,  and  write  with  it  on  a 
piece  of  parchment  ; then  when  you  want  to  efface  it,  take 
your  handkerchief  and  rub  it  off. 

XVIII.  Powder  ink . 

Take  equal  parts  of  black  rosin,  burnt  peach,  or  apricot 
stones,  vitriol  and  gall  nuts,  and  two  of  gum-arabic.  Put  the 
whole  in  powder,  or  in  a cake,  as  you  like  best. 

XIX.  An  exceeding  good  writing  ink . 

1.  Boil  half  apound  of  India  wood  shavings  in  two  quarts  of 
good  vinegar,  to  the  reduction  of  one  half.  Take  off  the  sha- 
vings, and  substitute  four  ounces  of  gall  nuts  bruised,  and  put 
all  into  a strong  bottle,  which  you  expose  in  the  sun  for  three 
or  four  days,  shaking  it  during  that  time  three  or  four  times  a 
day.  Then  add  a dissolution  of  two  ounces  and  a half  of  gum  • 
arabic  in  half  a pint  of  either  water  or  vinegar.  Let  the  whole 
stand  again  in  the  sun  for  a week,  shaking  it  several  times  every 
day,  during  that  term  ; strain  that  liquor  afterwards,  and  keep 
it  for  use. 

2.  if  you  should  want  to  render  this  ink  shiny,  you  must 
dissolve  both  the  vitriol  and  gum  arabic  in  an  infusion  of  In- 
dia wood,  made  as  before  directed,  with  the  addition  of  one 
handful  of  pomegranate  rinds  in  the  bottle  wherein  the  gall 
nut  is. 

3.  If  instead  of  setting  this  composition  in  the  sun,  you 
should  boil  it,  it  will  take  but  a quarter  of  an  hour  a-doing^ 
But  it  is  never  so  good,  and  besides,  always  turns  muddy. 

XX.  A gold  colour  ink , without  gold. 

Put  half  a drachm  of  saffron,  one  of  auripigment,  and  one 
she-goat’s,  or  five  or  six  jack  galls  in  a glass  bottle  ; and  set  for 
a fortnight  in  hot  horse  dung.  At  the  end  of  that  term,  add  a 
gill  of  gum  water;  and  place  it  again  for  the  same  length  of 
time  in  horse  dung.  Then  it  is  fit  for  use. 


144  SECRETS  IN  ARTS,  TRADES,  &c. 

XXI.  Another  way . 

Pulverise  into  an  impalpable  powder  one  ounce  of  orpine, 
and  as  much  crystal.  Put  this  powder  in  five  or  six  whites  of 
eggs  beaten,  then  turned  into  water.  Mix  all  well,  and  it  will 
be  fit  either  to  write  or  to  paint  in  gold  colour. 

XXII.  To  write  in  silver  without  silver . 

Mix  so  well  one  ounce  of  the  finest  pewter  and  two  of  quick- 
silver together,  that  both  become  quite  fluid.  Then  grind  it 
on  porphyry  with  gum-water,  and  write  with  it.  All  the  wri- 
ting will  look  then  as  if  done  with  silver. 

XXIII.  A good  shining  ink . 

Infuse  for  a day  in  a quart  of  good  table  beer  half  a pound  of 
the  blackest  and  most  shiny  gall  nuts  you  can  find.  Add  three 
ounces  of  gum-arabic,  and  half  an  ounce  of  brown  sugar  can- 
dy, with  four  ounces  of  green  copperas.  Then  boil  the  whole 
in  a glazed  pipkin  for  about  an  hour,  strain  it  through  a cloth, 
and  put  it  in  the  cellar  to  keep  for  use. 

XXIV.  A blue  ink 

Dilute  half  a pound  of  indigo  with  some  flake  white  and  $u- 
gar,  in  a sufficient  quantity  of  gum-water. 

The  same  may  be  done  with  ultramarine,  and  gum-water. 

XXV.  A yellow  ink . 

Dilute  in  gum-wafer  some  saffron,  or  French  berries,  or  gam- 
boge, and  you  will  have  a yellow  ink.  The  same  may  be  done 
with  any  other  colouring  ingredient,  to  obtain  an  ink  of  the 
colour  one  likes  to  have. 

XXVI.  A green  ink  which  may  keeji  two  years . 

Put  a pint  of  water  on  the  fire  in  a varnished  pipkin  ; and 
when  it  is  ready  to  boil,  throw  in  two  ounces  of  verdigrease 
pounded,  and  boil  it  gently  on  a slow  fire  for  the  space  of  half 
an  hour,  stirring  it  often  during  that  time  with  a wooden  spa- 
tula. Then  add  one  ounce  of  white  tartar,  well  pulverised, 
and  boil  it  one  quarter  of  an  hour.  Strain  two  or  three  times 
through  a cloth,  then  set  it  before  the  fire  to  evaporate  part  of 
it.  in  Older  to  make  it  more  shiny.  But  observe,  that  the  more 
it  boils,  the  more  it  loses  of  its  green  colour,  and  approaches  to 
the  blue. 


SECRETS  IN  ARTS,  TRADES,  See.  145 

XXVII.  A shining  ink . 

Put  in  a clean  brass  cauldron  six  quarts  of  white  wine,  or  beer, 
or  rain  water,  with  one  pound  of  gall-nuts,  and  two  ounces  of 
roch-alum  in  powder,  which  you  boil  all  together,  to  the  re- 
duction of  one  half.  Take  this  liquor  off  from  the  fire,  and 
strain  it  through  a cloth  into  a glazed  pipkin,  and  set  in  on  the 
fire  again  for  two  hours  longer.  Then  for  the  three  or  four 
following  days,  observe  to  stir  it  well  only  with  a little  stick, 
without  boiling  it  at  ail ; it  will  be  fit  for  use.  Whenever  you 
use  it,  it  will  be  very  pale,  but  in  twenty-four  hours  after,  it 
will  be  as  black  as  jet. 

XXVIII.  A way  of  writing  which  will  not  be  visible , 

unless  you  hold  the  paper  to  the  $u?t,  or  the  light  of 

a candle . 

Take  flake  white,  or  any  other  whitening,  and  dilute  it  in  a 
water  impregnated  with  gum  adragant.  If  you  write  with  this 
liquor,  the  writing  will  not  be  perceivable,  unless  you  apply  the 
paper  to  the  sun,  or  the  light  of  a candle.  The  reason  why  it 
is  so,  is,  that  the  rays  of  light  will  not  find  the  same  facility  to 
pass  through  the  letters  formed  with  this  liquor,  as  through  the 
other  parts  of  the  paper 

XXIX.  A secret  to  revive  old  wr  itings,  which  are  al- 
most defaced . 

Boil  gall-nuts  into  wine  ; then  steeping  a sponge  into  that 
liquor,  and  passing  it  on  the  lines  of  the  old  writing,  all  the  let- 
ters which  were  almost  undecypherable  will  appear  as  fresh  as 
newly  done. 

XXX.  To  write  in  gold  or  silver  letters . 

Take  gold  or  silver  in  shells,  and  dilute  it  with  some  gum~ 
arabic  water.  Then  dip  either  a pen  or  a pencil  in  it,  and  write  . 

XXXI.  An  iris  on  white  paper. 

Boil  in  a new  iron  pot  any  quantity  of  sublimate  with  com- 
mon water,  and  a handful  of  small  nails.  When  the  mercury 
begins  to  revivify,  which  happens  after  two  or  three  hours  boi- 
ling, throw  the  whole  in  a pan  of  cold  water,  half  filled,  and 
place  it  uncovered  for  one  night,  in  a bog-house.  Then  the 
colours  will  swim  on  the  top.  Observe  that  the  pan  must  be 
perforated  at  the  lowest  part  on  one  side,  and  stop  it  with  a 


146 


SECRETS  IN  ARTS,  TRADES,  &c. 


cork  or  any  other  common  thing;  and  that  a sheet  of  white  pa- 
per must  have  been  placed  at  the  bottom  of  it,  previous  to  the 
half-filling  it  with  the  cold  water,  in  which  you  are  directed  to 
throw  the  boiling  composition.  After  this  has  been  left  in  the 
bog  house  the  space  of  one  night,  and  the  colours  do  swim  on 
the  top,  unstop  the  whole,  and  let  the  pan  empty  itself.  Then 
the  colours  will  settle,  and  fix  themselves  on  the  sheet  of  paper  ; 
and  when  this  begins  to  dry,  take  it  quite  out  of  the  pan,  to  fi- 
nish drying  it  in  the  shade. 

XXXII.  A shining  ink, 

1.  In  a quart  of  rain  water  settled,  filtered  and  purified,  infuse 
for  four  or  five  hours,  on  a slow  fire,  one  pound  of  gall-nuts, 
chusing  the  smallest  and  blackest.  Let  them  be  previously  brui- 
sed in  a mortar,  with  some  pomegranate  rinds,  and  raspings  of 
fig-tree  wood.  Next  to  this  make  a lye  of  six  ounces  of  Roman 
vitriol,  and  boil  it  for  the  space  of  one  hour  at  least,  stirring  it 
with  a stick  of  fig-tree  wood  ; then  let  it  rest  twelve  hours,  and 
sift  it. 

2*  On  the  same  ground  you  may  add  the  same  quantity  of 
water,  and  Jet  it  infuse  three  days  ; then  boil  it,  as  above  direc« 
ted,  with  new  copperas. 

XXXIII.  A common  ink. 

1.  Bruise  six  ounces  of  gall-nuts,  and  as  much  gum  arabic, 
and  nine  of  green  vitriol.  Put  them  afterwards  in  three  quarts, 
at  least,  of  river,  spring,  or  rain  water.  Stir  the  composition 
three  or  four  times  a day.  And  after  seven  days  infusion,  strain 
all  through  a cloth,  your  ink  is  made. 

2.  This  ground,  as  well  as  that  above,  will  admit  of  fresh 
water  being  put  to  it,  with  an  addition  of  vitriol  also. 

XXXIV.  How  to  firefiare  printers  ink . 

1 Take  one  pound  of  common  turpentine,  made  with  the  san* 
darak  of  the  ancients,  which  is  nothing  else  but  juniper  and  lint- 
seed  oil.  Add  to  it  one  ounce  of  rosin  black,  which  is  the  smoke 
of  it,  and  a sufficient  quantity  of  oil  of  nuts. 

2.  Set  this  composition  on  the  fire,  and  boil  it  to  a good  con- 
sistence. Such  is  the  whole  secret.  Observe  however,  that  in 
the  summer  it  must  boil  a little  more,  and  a little  less  in  the  win- 
ter For  in  the  summer  the  ink  must  be  thicker,  and  thinner 
in  the  winter;  because  the  heat  makes  it  more  fluid.  In  which 
case  it  is  therefore  proper  to  boil  it  a little  more,  or  to  diminish 
the  quantity  of  oil,  allowed  in  the  proportion  to  that  of  the 
turpentine* 


SECRETS  IN  ARTS,  TRADES,  &c.  14? 

XXXV.  preparation  of  the  ink'  which  serves  to 
write  inscriptions , epitaphs , £3* c.  cm  stones , marbles , 

This  Ink  is  made  with  nothing  else  but  a mixture  of  lintseed 
oil  black,  and  black  pitch  dissolved  over  a small  fire.  They 
call  this  also  stucco . 

XXXVI.  The  various  ways  of  making  an  inkfor  writing , 
1st.  Method. 

Put  three  ounces  of  gall-nuts,  bruised  on  a stone,  in  thirty 
ounces  of  warm  rain  water.  Let  this  be  exposed  in  the  sun 
for  two  days,  after  which  time  add  two  ounces  of  the  finest 
green  vitriol  reduced  into  a subtile  powder,  and  stir  the  liquor 
| with  a fig-tree  stick.  Let  then  the  whole  be  exposed  for  two 
days  longer  in  the  sun  again.  Then  put  one  ounce  of  gum 
arabic,  or  cherry-tree  gum,  and  set  it  in  the  sun  again  for  one 
day,  after  which  boil  it  one  bubble,  and  strain  it  directly 
through  a cloth.  If  too  thick,  add  some  water  to  it ; if  too 
thin,  gum-arabic. 

XXXVII.  Another  way . 2d.  Method. 

1.  Take  one  pound  of  gall-nuts,  and  half  a pound  of  gum- 
arabic,  and  as  much  of  ligustrum  berries.  Infuse  this  for  a 
week  in  three  quarts  of  common  water ; then,  by  boiling,  eva« 
porate  one  jquart  of  it,  or  thereabouts.  Then  take  it  off  from 
the  fire,  just  boiling  hot  as  it  is,  and  throw  in  one  pound  of  vit- 
riol ; stir  well,  and  let  it  thus  stand  for  a week  or  ten  days.—** 
Strain  it  afterwards,  and  you  will  have  a very  fine  ink. 

2.  You  may  add  to  this  some  pomegranate  rinds,  either 
whole  or  bruised,  but  by  no  means  in  powder.  Should  it  grow 
too  thick,  a little  male  chamber-lye,  vinegar,  or  rose-water,  will 
thin  it  and  give  it  a proper  fluidity. 

XXXVIII.  Another  way . 3d.  Method. 

Infuse  pomegranate  rinds,  in  well  water  ; boil  it  to  the  dimu- 
nition  of  one  third.  Then  to  every  one  pound  of  this  infusion 
add  two  ounces  of  green  vitriol,  and  half  an  ounce  of  gum-ara« 
bic  in  powder.  Incorporate  all  on  the  fire,  then  you  may 
strain  it  and  keep  it  for  use. 

XXX -X  Another  way . 4th.  Method. 

1.  Some  people  have  a very  cheap  way  of  making  ink,  with 

1 


SECRETS  IN  ARTS,  TRADES,  &c.- 


148 

the  liquor  with  which  the  curriers  wash  their  leather,  to  black- 
en it.  To  that  liquor  they  only  add  a little  vitriol  and  gum- 
arabic,  and  boil  the  whole  one  minute. 

2.  The  currier’s  dye  for  leather  is  made  with  common  or 
rain  water,  in  which  they  boil  those  little  cups  which  carry  the 
acorn  on  the  oak  tree. 

XL.  Another  way.  5th.  Method. 

1.  Bruise  on  a stone,  some  gall  nuts,  and  roast  them  in  an 
Iron  pan  with  a little  olive  oil.  Put  one  pound  of  such  gall 
nuts,  thus  prepared,  in  a glazed  pipkin.  Pour  over  it  white 
wine,  so  as  to  cover  the  gall  nuts  over  by  four  fingers  breadth  ; 
then  add  half  a pound  of  gum  arabic,  and  eight  ounces  of  vit- 
riol, both  in  powder.  Set  the  whole  in  the  sun  for  some  days, 
stirring  often  the  composition  with  a stick,  after  which  boil  it 
for  a few  minutes  on  a slow  fire,  then  strain  and  keep  it. 

2.  On  the  faeces  you  may  put  again  the  same  quantity  as  a- 
bove  of  white  wine,  boil  and  strain  it ; and  repeat  it  as  long  as 
the  wine  gets  any  tincture  from  the  grounds. 

XLI.  Another  way . 6th  Method. 

There  is  again  another  very  good  method  of  making  ink, 
which  is  this™  In  twenty  ounces  of  white  wine  infuse  three  of 
bruised  gall  nuts  ; and  in  thirteen  other  ounces  of  similar  white 
wine,  dissolve  half  a one  of  gum-arabic.  Every  day  for  a whole 
week,  never  tail  to  give  several  stirrings  to  the  infusion  of  gall 
nuts,  then  strain  it,  and  add  the  dissolution  of  gum,  and  mix 
with  all  two  ounces  of  Roman  vitriol.  Now  and  then  give  a 
shake  or  two  to  the  bottle,  and  guard  from  letting  it  approach 
either  the  fire  or  the  sun.  This  composition  will  prove  a very 
good  ink. 

XLII.  Another  way . 7th.  Method. 

Take  three  ounces  of  gall  nuts ; new  elm,  or  wild-ash  bark, 
and  pomegranate  dry  rinds,  equal  quantities.  Infuse  all  in  thir- 
ty ounces  of  white  wine  exposed  for  six  days  in  the  sun,  and 
stir  it  seven  times  a day.  Then  add  two  ounces  of  gum-arabic, 
and  one  of  Roman  vitriol,  which  infuse  four  days  before  strain- 
ing, and  the  ink  is  done. 

XLI  1 1.  Another  way . 8 th.  Method. 

Take  three  ounces  of  gall  nuts,  a handful  of  ash-tree  bark, 
two  pounds  and  a half  (or  three  pints)  of  white  winep  and  mix 


SECRETS  IN  ARTS,  TRADES,  &c. 


14§ 


all  over  a slow  fire.  When  it  begins  to  boil,  take  it  off,  an<$ 
strain  it.  Replace  it  on  the  fire  till  it  begins  to  boil  again;  then 
take  it  off,  and  add  two  ounces  of  gum  arabic,  and  as  much 
Roman  vitriol.  Stir  with  a stick  for  half  an  hour,  then  let  it 
rest  for  four  days,  taking  great  care  that  your  liquor  be  well  co- 
vered; then  strain  it  again,  and  keep  it  for  use. 

XLIV.  Another  way . 9th.  Method. 

Put  in  four  pounds,  or  two  quarts  of  white  wine,  a glass  of 
the  best  vinegar,  and  two  ounces  of  bruised  gall-nuts  Let  these 
infuse  thus  for  four  days,  then  boil  away  and  evaporise  one 
fourth  part  of  it.  Strain  it,  and  add  two  ounces  of  gum-arabic 
in  powder;  mix  well,  and  boil  it  for  the  space  of  five  minutes. 
Take  it  off  from  the  fire,  and  add  again  three  ounces  of  Roman 
vitriol,  stirring  it  well  till  all  is  quite  cold.  Put  it  then  into  a 
glass  bottle  well  stopped,  and  expose  it  for  three  days  in  the 
sun . Then  strain  the  ink,  when  it  will  be  fit  for  use. 

XLV.  An  ink  which  may  be  made  instantly. 

Take  gum  arabic,  and  vitriol,  of  each  one  ounce  ; bruised 
gall-nuts  one  and  a half.  Put  all  in  ten  ounces  of  white  wine, 
or  vinegar ; and,  no  longer  than  one  hour  after,  you  may  use  it. 

XLVI.  Another  way  to  the  same  purpose. 

Putin  about  eight  ounces  of  the  best  white  wine  half  an 
ounce  of  gall-nuts,  as  much  gum-arabic,  and  eight  drachms  of 
Roman  vitriol.  Warm  it  a little  on  the  fire,  and  the  ink  will 
instantly  be  done. 

XLVII.  A portable  i?iky  without  either  gall-nut  or  vi- 
triol. 

1.  Take  one  pound  of  honey,  and  two  yolks  of  raw  eggs. 
Dilute  and  mix  them  all  well  with  the  honey.  Add  three 
drachms  of  gum  arabic  in  subtile  powder.  Stir  well  the  whole 
together  during  three  days,  and,  several  times  a day,  with 
a fig-tree  stick  flattened  at  one  of  the  ends.  Then,  to 
that  first  composition  add  again  as  much  of  that  sort  of  lamp- 
black which  is  used  in  printers  ink  (see  art.  xxxiv.  in  this  chap.) 
as  may  be  required  to  thicken  the  whole  into  a lump,  which 
you  let  dry,  and  keep  in  that  state. 

2.  When  you  want  to  use  it,  take  a bit  of  it  and  dilute  it  in 
any  common  water,  or  lye,  and  it  will  write  like  any  other  ink 

O 


SECRETS  IN  ARTS,  TRADES,  kc. 


150 

X L V III.  Another  portable  ink  in  powder. 

This  is  made  with  equal  quantities  of  gall-nuts  and  vitriol ; 
a little  gum-arabic,  and  still  less  of  sandarak  of  the  antients. 
You  pound  or  grind  each  drug  well,  and  mix  the  powders  to- 
gether, which  are  to  be  very  fine.  Lay  some  of  this  compound 
powder  on  your  paper,  and  spread  it  well  with  your  fingers. 
Then  dipping  your  pen  into  clear  water,  you  may  write  on  this 
prepared  paper,  and  it  will  appear  as  black  as  any  other  ink. 

XLXX.  Another  portable  powder , to  make  ink  instantly . 

Take  and  reduce  into  subtile  powder  ten  ounces  of  gall-nuts, 
three  of  Roman  vitriol,  otherwise  green  copperas  ; with  two 
ounces  of  roch-alum  and  as  much  of  gum-arabic.  Now  when 
you  want  to  make  ink,  put  a little  of  this  mixture  into  a glass 
of  white  wine,  and  it  will  instantly  blacken,  and  be  fit  for  use. 

L.  Another  sort  of  powder  to  the  same  purpose . 

1.  There  is  another  method,  by  no  means  inferior  to  the 
others  preceding,  to  make  a powder  fit  for  travellers,  nay, 
which  has  the  quality  of  mending  any  pale  common  ink,  by 
giving  it  instantly  a degree  of  consistence,  blackness,  lustre, 
and  beauty,  which  it  wanted  before.  To  use  this  powder,  you 
only  dissolve  it  in  any  liquor  you  like  ; such  as  water,  whether 
soft  or  salt,  in  wine  or  vinegar.  Whether  warm  or  cold,  it  does 
not  signify  much,  though  the  warm  is  somewhat  preferable. 
This  curious  powder  is  made  as  follows. 

2.  Take  peach  stones  with  their  kernels  in,  put  them  in  the 
fire  till  perfectly  reduced  into  coals.  Then  take  them  off, 
and  when  they  are  quite  dead  and  black,  mix  part  of  them  with 
some  lamp  black.  Add  two  parts  of  bruised  gall-nuts  fried  in 
oil  and  dried  up  ; four  parts  of  gum-arabic,  all  pulverised  im- 
palpabiy,  and  sifted  through  a fine  sieve. 

3.  Observation.  There  is  nothing  which  dyes  so  fine  a black. 
It  is  also  good  for  the  human  body  ; for,  taken  internally,  it 
dissipates  all  obstructions,  and  promotes  urine. 

LI.  A yellow  ink. 

Grind  on  the  same  stone,  some  dry  saffron,  and  an  equal 
' quantity  of  the  finest  orpine  you  can  find,  with  carp’s  or  jack’s 
gall.  Put  all  into  a bottle,  which  you  must  stop  well  and  place 
for  some  days  in  hot  horse  dung.  When  you  take  it  out  you 
will  find  a fine  gold  colour  ink. 

Note.  When  the  opportunity  may  be  had>  it  is  preferable  to 


SECRETS  IN  ARTS,  TRADES,  he, 


151 


employ  the  juice  extracted  from  fresh  saffron  flowers,  that  ia 
to  say,  from  the  picked  staminas  of  that  flower. 

LI I.  Another  way. 

Some  take  the  yellow  and  superficies  of  orange  peels,  and  ve- 
ry pure  flour  of  brimstone,  mixing  all  upon  the  stone*  then  put 
it  in  a glass  bottle,  which  they  set  in  the  damp  for  ten  days. 
Before  using  this  it  requires  to  be  warmed,  and  the  letters  which 
are  traced  with  it  are  not  of  a bad  yellow. 

LI  XL  Another  way . 

Chuse  the  finest  orpine,  of  a beautiful  gold  colour,  shiny, 
shelly,  and  perfectly  freed  and  purified  of  ail  its  earthly  parti- 
cles. Mix  it  with  an  equal  quantity  of  crystal  perfectly  grin- 
ded, and  whites  of  eggs  in  a sufficient  quantity  to  make  it  so 
liquid  as  to  admit  of  writing,  drawing,  and  painting  with  it. 

LIV.  An6ther  sort  of  yellow  liquor . 

A certain  golden  distilled  water  may  be  made,  with  which 
gold  letters  could  be  traced.  The  process  is  as  follows.  Put 
some  orpine  reduced  into  impalpable  powder  in  rosemary  wa- 
ter, drawn  by  distillation. — Then  distil  it  asrain,  and  the  liquor 
which  comes  from  it  will  be  fit  to  write  in  gold  letters. 

LV.  Another  way . 

1.  Take  two  ounces  of  pewter,  and  melt  it  in  a crucible. 
When  melted  add  one  of  quicksilver,  and  mix  it  well  with  the 
pewter.  Then  put  all  on  the  stone,  and  grind  it  with  one  ounce 
of  sulphur.  This  composition  will  produce  a very  fine  yellow 
powder. 

2.  To  use  it,  dissolve  only  what  quantity  you  want  in  the 
white  of  an  egg ; and,  whatever  you  trace  with  it  will  appear 
of  a very  good  gold  colour. 

LVI.  Another  way}  superior  to  all  the  rest . 

Of  all  the  receipts  which  may  be  given  for  this  purpose,  none 
approaches  the  purpurine  powder.  Except  gold  itself,  nothing 
can  imitate  it  nearer  ; therefore  this  is  the  most  esteemed.  True 
it  is,  it  does  not  stand  the  injuries  of  the  weather  so  well  as  real 
gold,  nor  last  so  long. — This  powder  is  made  with  equal  parts 
of  pewter  and  quicksilver,  or  equal  parts  of  ammoniac  salt  and 
sulphur.  And,  to  preserve  it,  you  keep  it  in  little  leathern 
bags. 


1&2  SECRETS  IN  ARTS,  TRADES,  &c, 

LVIL  Of  the  use  of  sugar  candy  in  ink . 

Sugar-candy  has  the  admirable  virtue  of  restoring  bad  ink 
into  good.  It  blackens  it,  renders  it  shiny,  and  makes  it  run 
properly.  Therefore  it  is  most  advisable  to  put  some  powder 
of  white  sugar  candy  into  the  bottle  or  ink  horn. 

LVIII.  A sort  of  black  ink  ft  for  painting  figures,  and 

to  write  upon  stuffs , and  linen,  as  well  as  on  paper. 

Bruise  on  the  stone  one  ounce  of  gall-nuts,  and  put  it  in  a 
pint  of  strong  white  wine  vinegar  on  the  fire,  with  two  ounces 
of  iron  filings.  Evaporate  away  about  one  half  of  the  liquor  in 
boiling  it  gently,  strain  the  remainder,  and  keep  it  for  use. 

It  would  not  be  improper  to  add  a little  gum-arabic  to  the 
above  composition  ; however,  it  may  as  well  be  let  alone. 

LIX.  To  prevent  ink  from  freezing  in  winter . 

If  instead  of  water,  you  make  use  of  brandy  with  the  same 
ingredients  which  enter  into  the  composition  of  any  ink,  that 
ink  never  will  freeze.  You  may  also  put  some  into  the  ink  al- 
ready made  otherwise,  and  it  will  assist  a good  deal  in  preven- 
ting the  frost  from  acting  upon  it. 

LX.  How  to  renew  old  writings  almost  drfaced . 

We  ordered,  art.  xxxix.  of  this  chapter,  to  boil  gall-nuts  in 
in  wine ; but  we  must  add  here  that  it  is  far  prefarable  to  infuse 
them  only  twenty-four  hours  in  it,  then  put  all  into  a retort  and 
distil.  The  liquor  which  comes  from  it  being  passed  on  the 
paper  or  parchment,  will  revive  the  defaced  parts  of  the  wri- 
tings. 

LX I.  A green  ink. 

Take  fine  verdigrease,  and  dilute  it  with  a mixture  of  distilled 
water  of  green  gall-nuts  and  vinegar.  Form  it  into  drops  such 
as  those  of  confectioners.  Dry  them,  and  when  you  want  to 
use  them,  dilute  them  into  gum  arabic  water. 

LXII.  Another  way . 

Take  the  strongest  white  wine  vinegar,  in  which  dissolve 
verdigrease,  rue  juice,  and  a little  roeh-alum. 


SECRETS  IN  ARTS,  TR  ADES,  &c  153 

LXIII.  To  write  in  gold  letters  on  iron  or  steel. 

1.  Pound  some  gold  marcasites  in  a mortar;  put  it  to  infuse 
twenty-four  hours  in  vinegar,  and  boil  it  gently  over  the  fire  in 
a glazed  pipkin,  till  the  vinegar  is  almost  vanished  away,  which 
will  take  you  nearly  a whole  day’s  time  to  boil.  Then  take 
the  composition  off  from  the  fire,  and  after  having  left  it  to 
cool  and  dry  a little  more  in  the  shade,  put  it  in  a retort  and 
distil. 

2 . With  this  liquor  write  on  iron  and  steel ; the  letters  will 
appear  black  at  first ; but  if,  when  dry,  you  rub  over  them 
with  a piece  of  linen,  they  will  turn  gold  colour. 

LXXV.  An  ink  which  writes  like  silver , without  silver 

in  it. 

1.  Amalgamate  equal  parts  of  pewter  and  quicksilver,  in  the 
same  manner  as  goldsmiths  do  ; grind  well  that  amalgamation 
on  the  stone. 

2.  If  you  dilute  of  this  powder  in  gum-arabic  water,  and  write 
with  it,  your  letters  will  appear  like  silver. 

LXV.  To  write  on  silver  in  blacky  which  will  never  go 

off- 

Take  burnt  lead,  and  pulverise  it.  Incorporate  it  next  with 
sulphur  and  vinegar,  to  the  consistence  of  a painting  colour, 
and  write  with  it  on  any  silver  plate.  Let  it  dry,  then  present 
it  to  the  fire  so  as  to  heat  a little  the  work,  and  all  is  done, 

LXVI.  A fine  black  ink  which  has  the  smell  if  roses . 

Boil  in  an  earthern  vessel  seven  ounces  of  rain  water,  with  an 
ounce  and  a half  of  dried  tormenti!  roots.  When  it  has  boiled 
sufficiently,  pour  off  the  liquid,  and  add  to  it  a solution  of  three 
drachms  of  copperas,  and  one  drachm  of  gum  arabic,  then  stir 
the  whole  with  a stick ; when  it  is  cold  the  ink  is  ready  for 
use. 


Q % 


154 


CHAP.  XL 


Secrets  relative  to  Wine. 


I.  To  make  a vine  produce  a sweet  wine . 

ONE  month  before  gathering  the  grapes,  you  must  twist 
such  branches  as  are  loaded  with  them,  so  as  to  interrupt 
the  circulation  of  the  sap ; then  strip  the  leaves  off  entirely, 
that  the  sun  may  act  with  all  its  power  on  the  grains,  and,  by 
dissipating  their  superfluous  moisture,  procure  a sweetness  to 
the  liquor  contained  in  them,  when  they  come  to  be  pressed, 

31.  To  make  a sweet  wine  of  a very  agreeable  flavour  y 
and  besides  very  wholesome . 

Gather  the  grapes,  and  expose  them  for  three  whole  days  in 
the  sun.  On  the  fourth  day  at  noon,  put  them  under  the 
press,  and  receive  the  first  drop  which  runs  of  itself  before 
pressing.  When  this  virgin  drop  shall  have  boiled,  or  fermen- 
ted, put  to  every  fifty  quarts  of  it  one  ounce  of  Florentine  or- 
rice  in  subtile  powder.  A few  days  after  take  it  out  clear  from 
its  lye,  and  then  bottle  it. 

III.  To  clarify  in  two  days  new  wine  when  muddy . 

Take  a discretionable  quantity  of  fine  and  thin  beech  sha- 
vings, which  put  into  a bag,  and  hang  by  the  bung-hole,  in  the 
cask.  Two  days  after,  take  out  the  bag  ; and  if  from  red  you 
want  to  make  it  white,  you  may  do  it  by  putting  in  the  cask  a 
quart  of  very  clear  whey. 

IV.  To  make  the  wine  keep  mout  or  unfermented  for 
twelve  months. 

Take  the  first,  or  virgin  wine,  which  runs  of  itself  from  the 
grapes  before  pressing  ; cask  and  stop  it  wrell,  then  smear  the 
cask  all  over  with  tar,  so  that  the  wrater  could  not  penetrate 
through  any  part  of  the  wood  into  the  wine.  Plunge  these  casks 
into  a,  pond  deep  enough  to  cover  them  entirely  with  w'ater, 
and  leave  them  there  for  forty  days.  After  which  term  you 
may  take  them  out  and  the  wine  contained  in  them  will  keep 
for  twelve  months. 


SECRETS  IN  ARTS,  TRADES,  kc. 

V.  To  clarify  a wine  which  is  turned. 


15$ 


Take  clean  roch-alum  in  powder,  half  a pound  ; sugar  of 
roses,  as  much;  honey,  whether  skimmed  or  not,  eight  pounds, 
and  a quart  of  good  wine.  Mix  all  well,  and  put  it  in  a cask 
of  wine,  stirring  all  as  you  pour  it  in.  Take  the  bung  off  till 
the  next  day,  then  put  it  on  again.  Two  or  three  days  after 
this,  it  will  be  quite  clear. 

V.  To  prevent  wine  from  corrupting. 

Put  to  infuse  in  a cask  a handful  of  gentian-root,  tied  in  a 
bag. 

VII.  To  prevent  wine  from  growing  sour , and  turning 
into  vinegar. 

Hang  by  the  bung-hole,  in  the  cask,  a piece  of  bacon,  of 
about  one  pound  and  a half,  and  replace  the  bung.  Or  else 
throw  into  the  wine  a little  bagful  of  ashes  of  virgin  vine. 

VIII.  To  restore  a wine  turned . 

Draw  a pailful  of  it ; or,  take  the  same  quantity  of  another 
good  sort,  which  boil,  and  thiow  boiling  hot  over  that  which 
is  spoiled  and  stinking  ; then  stop  the  cask  quickly  with  its 
bung.  A fortnight  after  taste  it,  and  you  will  find  it  as  good 
as  ever  it  was,  or  can  be. 

IX.  To  restore  a wine  fusted,  or  tasting  of  the  cask . 

Draw  that  wine  entirely  out  of  its  own  lye,  and  put  it  in  an- 
other cask  over  a good  lye.  Then,  through  the  bung-hole, 
hang  up  a bag  with  four  ounces  of  laurel  berries  in  powder, 
and  a sufficient  quantity  of  steel  filings  at  the  bottom  of  the 
bag  to  prevent  its  swimming  on  the  top  of  the  wine.  And  ill 
proportion  as  you  draw  a certain  quantity  of  liquor,  let  down 
the  bag. 

X.  To  prevent  wine  from  pricking. 

Put  in  the  cask  half  a pound  of  spirit  of  tartar.  Or  else* 
when  ihe  wine  is  still  new  and  mout , throw  in  two  ounces  of 
common  alum  for  every  hogshead. 


is 6 SECRETS  IN  ARTS,  TRADES,  &c. 

XI.  To  make  wine  keep, . 

Extract  the  salt  from  the  best  vine  branches  ; and  of  this  put 
three  ounces  in  every  hogshead  at  Martinmass,  when  the  casks 
are  bunged  up. 

XII.  To  clarify  wine  easily . * 

Put  in  the  cask  two  quarts  of  boiling  milk,  after  having  well 
skimmed  it. 

XIII.  To  prevent  wine  from  turning . 

Put  in  the  cask  one  pound  of  hare’s  shot. 

XIV.  To  correct  a musty  taste  in  wine . 

Knead  a dough  of  the  best  wheat  flour,  and  make  it  in  the 
form  of  a rolling  pin,  or  a short  thick  stick.  Half  bake  it  in  the 
oven,  and  stick  it  all  over  with  cloves.  Replace  it  in  the  oven 
to  finish  baking  it  quite.  Suspend  it  in  the  cask  over  the  wine 
without  touching  it,  and  let  it  remain  there ; or  else  let  it 
plunge  in  the  wine  for  a few  days,  and  take  it  quite  out  after- 
wards. It  will  correct  any  bad  flavour  the  wine  might  have 
acquired. 

XV.  To  correct  a sowr,  or  bitter  taste  in  wine . 

Boil  a quartern  of  barley  in  four  quarts  of  water,  to  the  re- 
duction of  two.  Strain  what  remains  through  a cloth,  and 
pour  it  in  the  cask,  stirring  all  together  with  a stick,  without 
touching  the  lye. 

XVI.  To  restore  a spoiled  wine . 

Change  the  wine  from  its  own  lye,  upon  that  of  good  wine, 
Pulverise  three  or  four  nutmegs,  and  as  many  dry  orange  peels, 
and  throw  them  in.  Stop  well  the  bung,  and  let  it  ferment 
one  fortnight.  After  that  term  is  over,  you  will  find  it  better 
than  ever.  This  method  has  gone  through  many  experiments. 

XVII.  To  sweeten  a tart  wine . 

Put  in  a hogshead  of  such  wine,  a quarter  of  a pint  of  good 
wine  vinegar,  saturated  with  litharge  \ and  it  will  soon  lose 
its  tartness. 


SECRETS  IN  ARTS,  TRADES,  Stc.  157 

XVIII.  To  fir  event  tartness  in  wine. 

Take  in  the  month  of  March,  two  basonfuls  of  river  sand, 
and  after  having  dried  it  in  the  sun,  or  in  the  oven,  throw  it  in 
the  cask. 

XIX.  To  heighten  a wine  in  liquor , and  give  it  an  agree ** 
able  flavour. 

Take  two  dozen  or  thereabouts  of  myrtle  berries,  very  ripe* 
Bruise  them  coarsely,  after  having  dried  them  and  put  them  in 
a bag,  which  suspend  in  the  middle  of  the  cask.  Then  stop 
this  well  with  its  bung.  A fortnight  afterwards  take  off  the 
bag,  and  you  will  have  a very  agreeable  wine. 

XX.  To  give  wine  a most  agreeable  flavour. 

Take  a pailful  of  mout,  which  boil  and  evaporate  to  the  con- 
sistence of  honey.  Then  mix  with  it  an  ounce  of  Florentine 
orrice,  cut  in  small  bits,  and  one  drachm  of  costus . Put  all 
into  a bag,  and  let  it  down  in  the  cask  by  the  bung-hole,  after 
having  previously  drawn  out  a sufficient  quantity  of  wine  to 
prevent  the  bag  from  coming  at  it.  This  bag  being  thus  sus- 
pended by  a string  which  will  hang  out  of  the  bung-hole,  stop 
it  well  and  there  will  drop  from  the  bag  into  the  wine  a liquor 
which  will  give  it  a most  agreeable  taste. 

XXI.  How  to  find  out  whether  or  not  there  be  water 
mixed  in  a cask  of  voine. 

Throw  in  the  cask  one  wild  pear  or  apple.  If  either  of  these 
fruits  swim,  it  is  a proof  there  is  no  water  in  the  wine  ; for  if 
there  be  any,  it  will  sink. 

XXII.  To  separate  water  from  wine. 

Put  into  the  cask  a wick  of  cotton,  which  should  soak  in  the 
wine  by  one  end,  and  come  out  of  the  cask  at  the  bung-hole  by 
the  other  ; and  every  drop  of  water  which  may  happen  to  be 
mixed  with  the  wine,  will  still  out  by  that  wick  or  filter. 

You  may  again  put  some  of  this  wine  into  a cup  made  of  ivy 
wood,  and  then  the  water  will  perspire  through  the  pores  of 
the  cup,  and  the  wine  remain. 

XXIII.  To  tuigrease  wine  in  less  than  twenty  four 

hours. 

Take  common  salt,  gum-arabic,  and  vine  brush  ashes,  of 


15S 


SECRETS  IN  ARTS,  TRADES,  Sec. 


each  half  an  ounce.  Tie  all  in  a bag,  and  fix  it  to  a hazel-tree 
stick  ; then  by  the  bung-hole  stir  well  the  wine  for  a quarter 
of  an  hour,  after  which  take  it  out,  and  stop  the  cask.  The 
next  day  the  wine  wiii  be  as  sound  as  ever. 

XXIV.  To  cure  those  who  are  too  much  addicted  to 
drinking  wine. 

Cut  in  the  spring  a branch  of  vine,  in  the  time  when  the  sap 
ascends  most  strongly  ; and  receive  in  a cup  the  liquor  which 
runs  from  that  branch.  If  you  mix  some  of  this  liquor  with 
wine,  and  give  it  to  a man  already  drunk,  he  will  never  relish 
wine  afterwards. 

XXV.  To  recover  a fierson  from  intoxication . 

Make  such  a person  drink  a glass  of  vinegar,  or  some  cabbage 
juice,  otherwise  give  him  some  honey.  You  may  likewise 
meet  with  success,  by  giving  the  patient  a glass  of  wine  quite 
warm  to  drink,  or  a dish  of  strong  coffee,  without  milk  or  su- 
gar, adding  to  it  a large  tea-spoonful  of  salt. 

XXVI.  To  preserve  wine  good  to  the  last . 

Take  a pint  of  the  best  spirit  of  wine,  and  put  in  it  the  bulk 
of  your  two  fists  of  the  second  peel  of  the  alder  tree,  which  is 
green.  After  it  has  infused  three  days,  strain  the  liquor  through 
a cloth,  and  pour  it  into  a hogshead  of  wine.  That  wine  will 
keep  good  for  ten  years,  if  you  want  it. 

XXVII.  To  make  currant  wine . 

Gather  your  currants  when  full  ripe,  which  will  commonly 
be  about  the  middle  of  July  ; break  them  well  in  a tub  or  vat, 
(some  have  a mill  constructed  for  the  purpose,  consisting  of  a 
hopper  fixed  upon  two  lignum  vitae  rollers.)  Press  out,  and 
measure  your  juice,  and  to  each  gallon  put  two  gallons  of  wa- 
ter ; to  one  gallon  of  this  mixture,  put  three  pounds  of  Mus- 
covada  sugar,  or  well  clarified  coarse  sugar  ; stir  it  well  till 
the  sugar  is  quite  dissolved,  and  then  tun  it  up. 

# Your  casks  should  be  sweet  and  clean,  such  as  have  not  had 
either  beer  or  cider  in  them,  and  if  new,  let  them  be  first  well 
seasoned. 

As  wine,  made  in  the  common  manner,  either  of  grapes  or 
currants,  is  long  fermenting,  we  think  that  to  filter  it  through 
a sand  filter,  would  be  of  great  benefit.  All  liquors  that  re- 
quire to  ferment  are  injured  in  proportion  to  the  time  that  is 


159 


SECRETS  IN  Arts,  TRADES,  &c. 

requisite  to  complete  the  fermentation  ; and  this  time  is  longer 
or  shorter,  in  proportion  as  there  is  more  or  less  of  those  sub- 
stances in  the  liquor  that  fermentation  throws  off. 

It  may  not  be  amiss  to  observe,  that  your  juice  should  not 
stand  over  night ; after  being  pressed  out  it  should  be  imme- 
diately mixed,  and  put  up  in  casks,  before  fermentation  com- 
mences. The  casks  should  not  be  so  full  as  to  work  out  at 
the  bung,  but  when  the  fermentation  is  done,  the  casks  should 
be  filled.  While  fermenting,  something  should  lightly  cover 
the  bung  hole,  so  as  to  prevent  flies,  See . getting  in  ; as  soon  as 
the  fermentation  is  over,  the  casks  should  be  stopped  up.  If 
your  wine  has  been  filtered,  in  the  manner  above  mentioned,  it 
will  not  require  racking,  but  may  stand  upon  the  lees,  until 
drawn  off  for  use.  Wine  that  stands  upon  the  lees  attains  a 
stronger  body,  and  is  in  a great  measure  divested  of  that  sweet, 
luscious  taste,  peculiar  to  made  wines ; nay,  if  it  is  not  wanted 
for  present  use,  it  may  without  any  damage  stand  two  years 
on  the  lees.  When  the  wine  is  drawn  off,  the  lees,  by  distilla- 
tion, afford  a fine  spirit  ; some  put  this  spirit  into  the  wine 
again,  the  practice  is  not,  however,  recommended. 

When  you  make  currant  wine,  do  not  be  prevailed  upon  to 
add  more  than  one  third  juice,  as  above  prescribed,  in  hopes 
the  wine  may  be  richer,  for  that  would  render  it  infallibly  hard 
and  unpleasant ; nor  yet  a greater  proportion  of  sugar,  as  it 
would  certainly  deprive  it  of  its  pure  vinous  taste. 

By  this  management  you  may  have  wine,  Setting  it  have  a 
proper  age,  equal  to  Madeira,  at  least  superior  to  most  wines 
commonly  imported,  and  for  much  less  money. 

To  make  thirty  gallons  of  wine,  the  proportion  of  each  in- 
gredient,  is,  eight  gallons  of  juice,  sixteen  of  water,  and  seven- 
ty-two pounds  of  sugar,  equal  to  six  gallons,  making  in  all 
thirty  gallons. 

N.  B.  An  extraordinary  good  spirit  for  medicinal  and  other 
uses,  may  be  distilled  from  currant  juice,  by  adding  one  quart 
of  molasses  to  a gallon  of  juice,  to  give  it  a proper  fermenta- 
tion. 

XXVIII.  To  make  excellent  wine  of  apple  cider . 

Take  of  ripe  and  mellow  fruit,  the  last  of  September,  or  in 
October,  grind  them  fine,  and  let  the  pummice  stand  over  one 
night  before  pressing  it  out,  if  it  can  without  danger  of  ferment- 
ing. When  your  cider  is  made,  boil  two  barrels  of  it  down  to 
one  ; then  strain  it  through  clean  sand  placed  in  a vessel  made 
like  a iye  tub.  After  it  is  strained  put  it  in  a clears  cask,  set  it 
in  a cool  cellar,  and  after  two  years  it  will  be  fit  for  use.  If 
kept  for  three  or  four  years,  it  is  equal  to  Rhenish,  or  Malaga 
wines.  Much,  however,  depends  upon  the  quality  of  your 
cider. 


163  SECRETS  IN  ARTS,  TRADES,  Sec, 

“ XXIX.  Another  method . 

Take  of  cider  (made  and  clarified  as  directed  in  Art.  i.  Chap, 
xix.)  one  barrel ; add  thereto  of  honey,  sufficient  to  make  it 
bear  an  egg.  Stir  the  honey  well  into  it,  and  put  it  into  a 
clean  cask  to  stand  and  ferment.  While  fermenting  fill  the 
cask  up  each  day,  that  the  filth  may  work  out  at  the  bung- 
hole.  When  the  fermentation  has  subsided,  put  the  bung 
loosely  in,  lest  you  burst  the  cask.  At  the  end  of  five  or  six 
weeks,  draw  the  liquor  off  into  a clean  tub,  take  the  white  of 
eight  eggs,  and  if  the  liquor  be  not  perfectly  clear,  put  to  them 
a pint  of  clean  sand,  beat  the  eggs  and  sand  well  together,  and 
put  them  into  the  liquor.  Then  add  a gallon  of  cider  spirit, 
and  after  the  whole  is  well  mixed  and  stirred  together,  and  your 
cask  well  cleaned,  return  it  into  the  cask,  bung  it  up  tight, 
and  place  it  in  a proper  situation  for  racking  off  in  the  following 
April. 

Wine  has  been  made  by  following  the  preceding  directions, 
equal  or  superior  to  most  foreign  wines,  and  at  less  than  a fifth 
of  the  cost. 

XXX.  Mafile  wine. 

Boil  four,  five,  or  six  gallons  of  sap  (according  to  its  strength^ 
into  one,  and  add  yeast  according  to  the  quantity  you  make. 
After  it  is  fermented,  set  it  aside  in  a cool  place,  well  stopped. 
If  kept  for  two  or  three  years  it  will  become  a pleasant  sound 
wine. 


CHAP.  XII. 


Concerning  the  composition  of  Vinegars. 

I.  To  make  good  wine  vinegar  in  a short  time . 

THROW  some  Taxus  wood,  or  yew-tree,  in  any  wine,  and 
it  will  not  be  long  before  it  turns  into  vinegar. 

II.  To  change  wine  into  strong  vinegar . 

Take  tartar,  ginger,  and  long  pepper,  of  each  equal  doses. 
Infuse  ail  for  one  week,  in  good  strong  vinegar,  then  take  it 
out  and  let  it  dry.  When  you  want  to  make  vinegar,  put  a 
bag  full  of  these  drugs  in  wine,  it  will  soon  turn  into  vinegar. 

III.  To  make  very  good  and  strong  vinegar  with  the 
worst  of  wines. 

Grind  into  subtile  powder  five  pounds  of  crude  tartar.  Pour 
on  it  one  pound  of  oil  of  vitriol.  Wrap  up  the  whole  in  a bag, 
tie  it  and  hang  it  by  the  bung-hole,  in  a cask  of  bad  and  totally 
spoiled  wine.  Move  and  stir  now  and  then  that  bag  in  the 
wine,  and  it  will  turn  into  very  good  vinegar. 

IV.  To  turn  wine  into  vinegar  in  less  than  three  hours . 

Put  in  the  wine  a red  beet,  and  it  will  be  quite  sour  and  true 
vinegar  in  less  than  three  hours. 

V.  To  restore  such  a wine  to  its  first  taste » 

Take  off  the  red  beet,  and  in  its  stead  put  a cabbage  root 
into  that  wine,  and  it  will  return  to  its  primary  taste  in  the 
same  space  of  time. 

VI.  An  excellent  preparation  of  vinegar. 

l.  Take  white  cinnamon,  long  pepper,  and  Cyprus , of  each 
an  ounce  ; round  pepper,  half  an  ounce,  and  two  nutmegs.— 
Pulverise  each  drug  separately,  and  put  them  in  so  many  dis- 
tinct bags.  Put  them  in  six  different  and  separate  quarts  of 
the  best  vinegar,  and  boil  them  two  or  three  minutes. 

Then  boil  separately  six  quarts  of  good  wine* 


SECRETS  IN  ARTS,  TRADES,  &c. 


162 

3.  Season  a cask,  which  is  done  by  pouring  - a quart  of  the 
best  vinegar  into  it,  with  which  you  rinse  it.  Then  pour  in 
your  boiled  wine  and  vinegars,  and  fill  half  w$y  the  cask  with 
the  worst  and  most  spoiled  wine.  Stop  theTask,  and  keep  it 
till  the  vinegar  is  done.  Then  draw  from  it,  and  refil  the  cask 
with  the  same  quantity  of  bad  wine  as  you  take  off  vinegar* 

VII.  To  render  vinegar  alkali . 

Saturate  any  quantity  of  vinegar  with  salt  of  tartar. 

VIII.  To  make  in  one  hour , good  rose  vinegar „ 

Put  a drachm  of  hare’s  marrow  in  a pint  of  wine,  and  you 
Will  see  the  consequence. 

IX.  Another  method  to  make  such  vinegar  in  an  instant, 

1.  Take  common  roses  and  unripe  blackberries,  which  grow 
iti  hedges,  of  each  four  ounces,  and  of  barberry  fruits  one. — 
Dry  them  all  in  the  shade,  and  reduce  them  into  subtile  pow- 
der. 

2.  Mix  two  drachms  of  this  powder  into  a glass  of  white 
or  red' wine.  Then  let  it  settle  to  the  bottom,  and  strain  it 
through  a cloth.  It  will  be  a very  fine  vinegar. 

X.  To  operate  the  same  in  one  hour's  time , on  a larger * 

quantity  of  wine . 

1.  Take  the  best  rye  flour,  which  dilute  in  the  strongest  vin- 
egar, and  make  a thin  round  cake  with  it.  Bake  it  quite  dry 
in  the  oven  ; then  pound  it  into  a very  fine  powder,  with 
which  and  vinegar,  make  again  another  cake  as  before,  and  bake 
it  like  the  first.  Reiterate  this  operation  three  or  four  times. 

2.  If  you  hang  the  last  made  cake  in  a cask  of  wine  quite 
hot,  you  will  turn  the  whole  into  vinegar  in  less  than  an  hour* 

XL  The  receipt  of  the  vinegar  called  the  Grand  Consta- 
ble’s Vinegar. 

Take  one  pound  of  damask  raisins,  and  cure  them  of  their 
stones.  Put  these  raisins  in  a glazed  jar,  with  two  quarts  of 
good  rose  vinegar.  Let  all  infuse  for  one  night  over  hot  ashes, 
then  boil  it  the  next  morning  four  or  five  minutes  only.  Take 
it  oft  the  fire  and  let  it  cool,  strain  it  through  a cloth,  and  hot* 
tie  it  to  keep  for  use,  afterwards  cork  the  bottle. 


SECRETS  IN  ARTS,  TRADES,  &c,  16^ 

XII.  A secret  to  increase  the  strength  and  sharpness  of 
the  vinegar . 

Boil  two  quarts  of  good  vinegar  to  the  evaporation  of  one  ; 
then  put  it  in  a vessel,  and  set  it  in  the  sun  for  a week.  Now 
if  you  mix  this  vinegar  among  six  times  as  large  a quantity  of 
bad  vinegar  in  a small  cask,  it  will  not  only  mend  it,  but  make 
it  very  strong  and  agreeable. 

XIII.  Another  'ivaij  to  do  the  same. 

The  root  of  ruhus  ideeus , the  leaves  of  wild  pear-tree,  acorns 
roasted  in  the  fire,  the  iiquor  in  which  vetches  (peas)  have  been 
boiled,  horse  chesnut  powder  put  in  a bag,  &c.  Sc c.  add  great- 
ly  to  the  sharpness  of  vinegar. 

XIV.  The  secret  for  onaking  good  vinegar , given  by  a 
vinegar-man  at  Paris. 

1.  Pound  coarsely,  or  rather  bruise  only,  one  ounce  of  long 
pepper,  as  much  ginger , and  the  same  quantity  of  pyrethra . 
Put  these  in  a pan  over  the  fire  with  six  quarts  of  wine.  Heat 
this  only  to  whiteness,  then  put  it  in  a small  cask,  and  set  it 
in  the  sun,  or  over  a baker’s  oven,  or  any  other  warm  place. 

2.  Now  and  then  add  new  wine  in  your  cask,  after  having 
previously  heated  it  as  before,  and  let  that  quantity  be  no  more 
than  two  or  three  quarts  at  a time,  till  the  cask  is  quite  full. — 
If  you  add  a few  quarts  of  real  vinegar,  it  will  be  the  stronger. 
Before  casking  the  wine,  let  it  rest  in  the  pan  in  which  it  has 
boiled  for  two  or  three  days.  A glazed  earthern  pan  is  pre® 
ferable  to  a copper  one  for  boiling  the  wine  in  ; for  during  the 
three  days  infusion,  the  copper  might  communicate  a danger- 
ous quality  of  verdigrease  to  the  vinegar.  When  you  put  vin- 
egar to  meliorate  this  composition,  instead  of  wine,  you  must 
take  care  to  heat  it  over  the  fire,  but  not  so  much  as  the  wine. 
Let  the  cask  be  well  rinsed  and  perfectly  clean,  before  putting 
the  vinegar  in. 

3.  The  wild  blackberries  which  grow  in  hedges,  are  very 
good  to  make  vinegar,  but  they  must  be  used  while  red  ; then 
put  them  in  the  wine,  heat  this  to  whiteness,  and  proceed  in 
the  same  manner  as  you  do  with  pyrethra , ginger  and  long 
pepper.  The  dose  of  blackberries  is  not  determined  ; you  may 
take  any  discretionable  quantity  of  them,  and  the  vinegar 
which  results  from  these  is  very  good. 


164  SECRETS  IN  ARTS,  TRAMS, 

XV.  To  make  vinegar  with  water . 

Put  thirty  or  forty  pounds  of  wild  pears  in  a large  tub,  wher.£ 
you  leave  them  for  three  days  to  ferment,  then  pour  some  wa- 
ter over  them,  and  repeat  this  every  day  for  a month.  At  the 
end  of  which  it  will  make  a very  good  vinegar. 

XVI.  To  make  good  vinegar  with  spoiled  wine . 

Put  a large  kettle  full  of  spoiled  wine  on  the  fire,  boil  and 
skim  it.  When  wasted  of  a third  put  it  in  a cask,  wherein  there 
is  some  very  good  vinegar.  Add  a few  handfuls  of  chervil  over 
it  in  the  cask,  and  stop  the  vessel  perfectly  close.  You  will 
have  very  good  vinegar  in  a very  short  time. 

XVIL  dry  portable  vinegar , or  the  vinaigre  en 
poudre. 

Wash  well  half  a pound  of  white  tartar,  with  warm  water, 
then  dry  it,  and  pulverise  it  as  fine  as  possible.  Soak  that 
powder  with  good  sharp  vinegar,  and  dry  it  before  the  fire,  or 
in  the  sun.  Resoak  it  again  as  before  with  vinegar,  and  dry  as 
-above,  repeating  this  operation  a dozen  times  By  these  means 
you  shall  have  a very  good  and  sharp  powder,  which  turns  wa- 
ter itself  instantly  into  vinegar.  It  is  very  convenient  to  carry 
in  the  pocket,  especially  when  travelling. 

XVIIL  To  make  maple  vinegar . 

Expose  the  sap  to  the  sun  in  the  open  air,  and  it  will  in  a short 
time  become  good  vinegar* 


165 


t 


CHAP.  XIII. 

Secrets  relative  to  Liquors  and  Essential  Oils. 

I.  To  make  as  good  wine  as  Spanish  wine . 

l.HHAKE  one  hundred  pounds  weight  of  dry  raisins,  from 
JL  which  pick  off  the  stems,  and  open  the  fruit  with  a 
knife.  Put  these  in  a large  wooden  tub,  very  clean.  Boil  fif- 
teen gallons  of  rain  water,  purified  by  straining  through  the  fil- 
tering paper.  Pour  it  over  the  raisins,  and  cover  it  to  preserve 
the  heat  of  the  water.  Twenty-four  hours  after  take  off  the 
raisins,  which  will  be  swelled,  and  pound  them  in  a large  mar- 
ble mortar,  then  put  them  again  in  the  tub.  Heat  fifteen  gal- 
lons more  of  water,  which  pour  over  the  other  with  the  raisins, 
and  throw  in  twenty-five  pounds  of  coarse  sugar.  Stir  all  well 
and  cover  the  tub  over  with  two  blankets.  Three  days  after, 
by  a cock  placed  at  the  bottom  of  the  tub,  draw  out  all  the 
liquor,  and  cask  it,  adding  six  quarts  of  brandy  to  it.  Press 
the  ground  with  an  apothecary’s  press,  and  put  the  juice  in  the 
cask,  with  two  pounds  of  white  tartar  pounded  into  a subtile 
powder,  in  order  to  promote  the  fermentation,  and  five  or  six 
ounces  of  polychrest  salt,  and  a knot  of  garden  cress  seed,  of 
about  sixteen  or  eighteen  ounces  weight,  and  another  knot  of 
seven  pugils  of  aider  flowers.  These  knots  are  to  be  suspend- 
ed by  a thread  in  a cask. 

2.  If  the  wine  look  too  yellow,  you  must  strain  it  through  a 
jelly  bag,  in  which  you  shall  put  one  pound  of  sweet  almonds, 
pounded  with  milk.  The  older  the  wine,  so  much  the  better 
it  is. 

3.  To  make  it  red,  dissolve  some  cochineal  pounded  in  a 
certain  quantity  of  brandy,  along  with  a little  alum  powder,  iu 
order  to  draw  the  better  the  dye  of  the  cochineal,  which  put  to 
digest  on  a sand  bath.  Till  the  brandy  has  assumed  a proper 
degree  of  colour,  give  it  to  your  wine  in  a sufficient  degree. 

4.  It  is  preferable  to  clarify  the  sugar  well,  and  to  put  it  in 
the  cask  instead  of  the  tub. 

II.  To  make  the  ros solis. 

1.  Boil  first  some  water,  and  let  it  cool  till  it  is  no  more  than 
lukewarm.  Take  next  all  the  sorts  of  fragrant  flowers  the  sea- 
son can  afford,  well  picked,  keeping  none  but  the  petals  of 
each  flower.  Infuse  these,  separately,  in  some  of  that  hike- 

P 2 


SECRETS  IN  ARTS,  TRADES,  8cc> 


4 63 

warm  water,  to  extract  their  odorous  smell  or  fragrancy.  Then 
take  them  off,  and  drain  them.  Pour  all  these  different  wa- 
ters in  one  pitcher,  and  to  every  three  quarts  of  this  mixture, 
put  a quart  or  three  pints  of  spirit  of  wine,  three  pounds  of 
clarified  sugar,  one  quarter  of  a pint  of  essential  oil  of  ani- 
seed, and  an  equal  quantity  of  essential  oil  of  cinnamon. 

2.  Should  your  rossolis  prove  too  sweet  and  slimy  in  the 
mouth,  add  half  a pint,  or  more,  of  spirit  of  wine. 

3.  If  you  think  the  essential  oil  of  aniseed  should  whiten  too 
much  the  rossolis,  mix  it  with  the  spirit  of  wine,  before  putting 
it  in  the  mixed  waters. 

4.  If  you  want  to  increase  the  fragrancy,  add  a few  spoon- 
fuls of  essential  oils  of  different  flowers,  with  one  pugil  or  two 
of  musk,  prepared  amber,  ;and  lump  sugar  pulverised.  Then 
strain  the  rossolis  through  a jelly  bag  to  clarify  it,  bottle  and 
stop  it  well.  Thus  may  it  keep  for  ten  years  and  upwards. 

Ill,  To  make  a rossolis  which  may  serve  as  a foundation 
to  other  liquors . 

Put  three  quarts  of  brandy  and  one  of  water,  in  a glazed 
earthen  pot.  Place  this  pot  on  a charcoal  fire,  adding  a crust 
of  bread  and  one  ounce  of  aniseed,  and  cover  it  till  it  boils. 
Then  uncover  it  and  let  it  boil  five  minutes,  and  put  in  a pound 
of  sugar,  or  more  if  you  chuse.  Now  beat  the  white  of  an  egg 
with  a little  of  your  liquor,  take  the  pot  off  the  fire  and  throw 
in  the  white  of  an  egg.  Let  this  thus  rest  for  three  days. 

IV.  To  make  Eau  de  Franchipane. 

Put  half  a pound  of  sugar  in  a quart  of  water,  add  a quarter 
of  a pound  of  jessamine  flowers,  which  infuse  for  some  time. — 
When  you  find  the  liquor  has  acquired  a sufficient  degree  of 
fragrancy,  strain  it  through  a jelly  bag,  and  add  a few  drops 
©f  essential  oil  of  ambergris. 

V.  Orange  flower  water  made  instantly. 

Put  one  handful  of  orange  flowers  in  a quart  of  water,  with 
a quarter  of  a pound  of  sugar.  Then  beat  the  liquor  by  pour- 
ing it  from  one  vessel  to  another,  till  the  water  has  acquired 
what  degree  of  fragrancy  you  wish  it. 

VI.  Muscadine  rose  water , 

Put  two  handfuls  of  masculine  roses  in  one  quart  of  'water, 
with  one  quarter  of  a pound  of  sugar.  For  the  rest  proceed  as 
before. 


SECRETS  IN  ARTS,  TRADES,  &c.  s 1 67 

VII.  To  make  raspberry , strawberry , cherry , or 
.vwc/i  waters , 

1.  Take  the  ripest  raspberries,  strain  them  through  a linen 
cloth  to  express  all  the  juice  out  of  them.  Put  this  in  a glass 
bottle  uncorked,  and  set  it  in  the  sun,  in  a stove,  or  before  the 
fire  till  cleared  down.  Then  decant  it  gently  into  another  bot- 
tle, without  disturbing  the  faces  which  are  at  the  bottom. 

2.  To  half  a pint  of  this  juice,  put  a quart  of  common  water, 
and  a quarter  of  a pound  of  sugar.  Beat  all  together,  by  pour- 
ing backwards  and  forwards,  from  one  vessel  into  another, 
strain  it  through  a linen  cloth,  and  set  it  to  cool  in  a pail  of  ice. 
It  is  a fine  cooling  draught  in  the  summer. 

3.  Strawberries,  cherries,  & c.  are  done  in  the  same  manner. 

VIII.  L cmonacle  water  at  a cheap  rate . 

Dissolve  half  a pound  of  sugar  in  a quart  of  water ; rasp  over 
it  the  yellow  part  of  one,  two,  or  three  lemons,  as  you  like* 
and  mix  a few  drops  of  essential  oil  of  sulphur  in  the  liquor. 
Then  cut  three  or  four  slices  of  lemon  in  the  bowl,  when  you 
put  the  liquor  in  it. 

IX.  Apricot  water. 

Take  a dozen  of  apricots,  very  ripe.  Peel  and  stone  them. 
Boil  a quart  of  water,  then  take  it  off  from  the  fire  and  throw 
in  your  apricots.  Half  an  hour  after  put  in  a quarter  of  a pound 
of  lump  sugar,  which  being  dissolved,  strain  all  through  a cloth, 
and  put  it  to  cool  in  ice  as  the  others. 

X.  To  make  exceeding  good  lemonade. 

On  a quart  of  water  put  the  juice  of  three  lemons,  or  tWo 
only  if  they  be  very  juicy.  Add  seven  or  eight  zests  of  them 
besides,  with  one  quarter  of  a pound  of  sugar.  When  the 
sugar  is  dissolved,  strain  the  liquor,  and  cool  it  in  ice  as  before 
mentioned. 

XI.  To  make  orangeade  the  same  way . 

You  proceed  with  your  oranges  as  with  the  lemons.  If  the&e 
be  good,  but  little  juicy,  you  must  squeeze  three  or  four  or« 
anges,  with  the  addition  of  eight  or  ten  zests.  If  you  love 
©dour,  you  may  add  some  musk,  and  prepared  amber. 


168  SECRETS  IN  ARTS,  TRADES,  &c, 

XII.  To  make  a cooling  cinnamon  water . 

Boil  one  quart  of  water  in  a glass  vessel  before  the  fire.  Take 
it  off,  and  put  in  two  or  three  cloves,  and  about  half  an  ounce 
of  whole  cinnamon.  Stop  well  the  bottle,  and  when  the  wa- 
ter is  cold,  put  half  a pint  only  of  it  in  two  quarts  of  water  with 
sugar  to  your  palate,  a quarter  of  a pound  is  the  proper  quanti- 
ty. Then  cool  it  as  usual  in  ice,  before  serving. 

XIII.  To  make  coriander  water . 

Take  a handful  of  coriander,  which  shell,  aud  put  in  a quart 
©f  water  half  cooled  again,  after  having  boiled.  Add  one 
quarter  of  a pound  of  sugar,  and  when  the  water  has  acquired 
a sufficient  degree  of  taste,  strain,  cool,  and  serve  it  as  usual. 

XIV.  Aniseed  water . 

The  aniseed  water  is  made  in  the  same  manner  as  the  cori- 
ander water. 

XV.  Citron  water. 

Take  a citron  which  strip  of  its  peel,  and  cut  in  slices  cross- 
ways.  Put  these  slices  in  a quart  of  water,  with  a quarter  of  a 
pound  of  sugar.  Beat  well  this  water  by  pouring  it  backwards 
and  forwards  from  one  vessel  into  another,  and  when  it  has  a 
sufficient  taste  of  the  citron,  strain  it,  Sc c. 

XVI.  Cinnamon  water. 

Bruise  a pound  of  the  finest  cinnamon,  and  put  to  infuse  for 
twenty-four  hours  in  four  pounds  of  distilled  rose  water,  with 
half  a pound  or  a pint  of  white  wine,  which  put  all  together 
during  that  time  in  a glass  matrass  on  warm  ashes,  and  stop 
well  the  vessel,  so  that  it  breathe  no  air.  At  the  end  of  twen- 
ty-four hours  increase  the  fire  so  as  to  procure  a distillation,  by 
putting  the  matrass  in  the  balneum  viarice}  and  keep  this  li- 
quor in  bottles  well  stopped. 

XVII.  To  inake  cedrat  water. 

Have  a dozen  of  fine  lemons,  which  split  in  two  parts.  Take 
out  all  the  kernels,  and  keep  nothing  but  the  pulp  wherein  the 
juice  is  contained.  Put  them  in  a new  glazed  earthern  pan. 
Boil  one  pound  of  sugar  to  the  plume  degree,  then  pour  it  in 


SECRETS  IN  ARTS,  TRADES,  &e. 


169 


the  pot  over  the  lemons.  Set  this  on  a good-charcoal  fire,  and 
boil  it  till  the  sugar  comes  to  the  pearl  degree,  then  bottle  it*. 

XVIII.  Juniper  water . 

Put  two  pounds  of  juniper  berries  with  two  quarts  of  bran*, 
dy  in  a stone  bottle,  which  stop  well  and  place  on  hot  ashes  to 
infuse  for  twenty-four  hours.  Strain  the  liquor,  and  add  one 
pound  of  sugar,  half  an  ounce  of  cinnamon,  a9  much  cloves,  a 
preserved  half  peel  of  a lemon,  and  two  pugils  ot  aniseed.  Put 
these  in  the  bottle,  stop  it  well,  and  place  it  at  two  or  three  dif- 
ferent times  in  a baker’s  oven,  after  the  bread  is  out,  and  whe# 
you  may  bear  your  hand  in  it  without  burning. 

XIX.  To  make  good  hydro?nely  otherwise  metheglin . 

Take  honey  and  water,  equal  quantities  in  weight.  Boil 
them  together  and  skim  the  honey.  When  done  sufficiently 
you  may  know  by  putting  an  egg  in,  which  must  swim  at  top. 
Pour  then  the  liquor  in  a cask  where  there  has  been  spirit  of 
wine,  or  good  brandy,  well  soaked  with  either,  and  still  wet 
with  the  spirit,  and  add  two  or  three  grains  of  ambergris.  Stop 
well  the  cask,  and  set  it  in  the  sun  during  the  dog  days.  When 
it  begins  to  ferment,  unstop  the  cask  to  let  the  scum  out,  which 
arises  like  that  of  new  wine.  During  that  time  you  mu6t  not 
stir  the  cask.  When  the  first  fire  of  the  fermentation  has  sub^ 
sided,  stop  the  cask  again,  and  the  hydrome!  is  fit  for  keeping. 

Note . Instead  of  the  sun,  you  may  in  other  seasons,  make  us£ 
of  the  top  of  a baker’s  oven,  a stove,  or  a hot-house. 

XX.  A light  and  delicate  rossolis,  knowri  under  the  de- 
nomination of  populo. 

1.  Boil  three  quarts  of  water,  then  let  them  cool  again.  Add 
one  quart  of  spirit  of  wine,  one  of  clarified  sugar,  half  a glass 
of  essential  oil  of  cinnamon,  and  a very  little  of  musk  and  am* 
bergris. 

2.  Observe  the  sugar  should  not  be  boiled  too  much  in  clar- 
ifying, for  fear  it  should  crvstalize  when  in  the  rossolis,  and 
cause  clouds  in  it.  Observe  also  to  boil  the  water  first,  as  pre- 
scribed before  using  it,  to  prevent  the  corrupting  of  the  liquor; 
which  would  infallibly  be  the  case  were  you  to  employ  it  unboil- 
ed. 

XXL  Angelic  water . 

I . Take  half  an  ounce  of  angelic,  as  much  cinnamon,  a q$ar* 


SECRETS  IN  ARTS,  TRADES,  Sec. 


iro 

ter  part  of  doves,  the  same  quantity  of  mace,  of  coriander,  and 
of  green  anise-seed,  with  half  an  ounce  of  cedar  wood.  Bruise 
all  these  ingredients  in  a mortar,  and  set  them  to  infuse  for 
twelve  hours,  with  two  quarts  of  genuine  brandy,  in  a matrass 
or  retort.  Then  distil  the  liquor  by  balneum  marice. 

2.  Two  or  three  ounces  only  of  this  essential  spirit  in  two 
quarts  of  brandy,  with  the  addition  of  a very  small  quantity  of 
musk  and  ambergris,  will  make  a very  agreeable  liquor. 

XXII.  The  cinnamon  water. 

In  three  quarts  of  once  boiled  water,  and  then  cooled  again* 
put  half  a pint  of  essential  spirit  of  cinnamon,  distilled  like  that 
of  anise-seed.  Add  three  pints  of  vSpirit  of  wine,  and  one  of 
clarified  sugar.  Strain  all  through  the  jelly  bag,  &c.  & c. 

XXIII.  Strong  anise-seed  water , or  animated  brandy . 

Put  half  a pint  of  essential  spirit  of  anise  seed  into  three  quarts 
of  the  best  genuine  brandy,  with  one  of  boiled  water.  If  you 
want  it  sweet?  add  clarified  sugar.  Strain  all  through  the  jelly- 

bag,  &c..&c 

XXIV.  To  make  white  Ratasia,  called  otherwise  Eau- 
de-Ncaiu,  or  kernel  water . 

Pound  three  quarters  of  a pound  of  cherry-stones,  wood  and 
kernels,  or  almonds  in  a stone  pitcher,  with  twelve  quarts  of 
brandy.  Add  one  drachm  of  cinnamon,  a dozen  of  cloves,  two 
pugils  of  coriander,  and  three  pounds  and  a half  of  sugar. 
Let  all  these  infuse  together,  till  sufficiently  tasty,  and  ready  to 
strain,  add  four  quarts  of  water  that  has  been  boiled  and  is  cool 
again.  Then  run  it  through  the  jelly  bag,  and  next  through  the 
filtering  paper;  bottle  and  stop  it  for  use. 

XXV.  An  exceeding  good  Ratasia. 

On  a quart  of  good  brandy  put  half  a pint  of  cherry  juice,  a s 
much  of  currants,  and  the  same  of  raspberries.  Add  a few  cloves, 
a pugil  of  white  pepper  in  grain,  two  of  green  coriander,  and  a 
stick  or  two  of  cinnamon.  Then  pound  the  stones  of  the  cher- 
ries. and  put  them  in,  wood  and  all  together.  Add  a few  kernels 
of  apricots,  thirty  or  forty  are  sufficient.  Stop  well  the  pitcher, 
which  must  be  a new  one,  after  all  these  ingredients  are  in,  let 
the  whole  infuse  a couple  of  months  in  the  shade,  shaking  twice 
or  thrice  during  that  space  of  time,  at  the  end  qf  which  run  the 


SECRETS  IN  ARTS,  TRADES,  &c  1ft 

liquor  through  the  flannel  bag,  and  next  through  the  filtering 
paper,  then  bottle  and  stop  it  well  for  use. 

Note.  In  increasing  in  due  proportion  the  quantity  of  the 
brandy,  and  the  doses  of  each  of  the  ingredients  prescribed^ 
you  may  make  what  quantity  you  like  of  this  Ratasia . 

XXVI.  A smelling  water. 

1.  Put  in  any  quantity  of  brandy,  benjamin,  and  storax  ca- 
lamite,  equal  parts  ; a little  cloves  and  mace,  coarsely  bruised. 
Set  this  a digesting  for  five  or  six  days  on  warm  ashes.  When 
the  liquor  is  tinged  of  a fine  red,  decant  it  gently  from  the  resi- 
due in  a glass  bottle,  and  throw  in  a few  grains  of  musk,  be- 
fore stopping  it. 

2.  Three  drops  of  this  smelling  water  in  a common  glass 
tumbler  of  water,  give  it  a very  agreeable  fragrance. 

3.  With  the  ground,  or  residue,  you  may  make  lozenges,  iji 
adding  a little  gurri  adragrant  to  bind  them. 

XXVII.  Ho%v  to  make  a Sherbet,  a Persian  sjiecies  of 
Punch . 

There  are  various  ways  of  making  Sherbet.  Some  make 
punch  here  with  rum  only,  others  with  brandy;  others  with 
arrack,  and  others  with  shrub.  Some  will  have  it  mixed  with 
two  of  these  spirits,  and  others  will  make  it  with  white  wine. 
Some  put  acids,  others  do  not ; and  among  the  acids  some 
chuse  tartar  only,  others  lemons,  and  others  Seville  oranges  ; 
some  squeeze  a little  of  each  of  these  two  last  tart  fruits  toge- 
ther in  the  same  bowl  of  punch. 

It  is  the  same  with  respect  to  sherbet,  the  famous  Persian 
drink.  They  make  it  with  the  various  syrups  extracted  from 
all  the  odoriferous  flowers  ; and  the  dose  is,  one  part  of  such  a 
syrup  to  ten  parts  of  any  spirituous  liquor.  Or  again,  they 
make  a weak  rossolis,  with  the  zests  of  oranges  and  lemons 
boiled  together  in  water  with  sugar.  Some  will  make  it  with 
the  essential  spirit  of  musk  and  amber  only,  put  in  boiling  wa- 
ter with  sugar,  as  we  do  our  punch. 

XXVIII.  To  make  Vin  des-Dieux. 

Peel  two  large  lemons  and  cut  them  in  slices;  do  the  same 
with  two  large  golden  pippins.  Put  all  a soaking  in  a pan  with 
a pint  of  good  Burgundy , three  quarters  of  a pound  of  lump 
sugar  in  powder,  six  cloves  and  half  a gill  of  orange  flower  wa- 
ter. Cover  the  pan,  and  keep  it  thus  for  five  or  six  hours,  then 
strain  the  liquor  through  the  flannel  bag.  You  may  musk  and 
amber  it  like  the  hypo  eras  if  you  will.. 


1?2  SECRETS  m ARTS,  TRADES,  &p. 

XXIX.  Buriit  wine . 

Put  a quart  of  good  Burgundy  in  an  open  pan,  with  a pound 
of  sugar,  two  leaves  of  mace,  a little  long  pepper,  a dozen  of 
cloves,  two  or  three  tops  of  rosemary  branches,  and  two  bay 
leaves.  Place  that  in  the  middle  of  a wheel-fire  of  blasting 
charcoal.  When  the  wine  begins  to  be  hot,  set  the  fire  to  it 
with  a bit  of  paper,  and  thus  let  it  kindle  and  blaze  till  it  goes 
out  of  itself.  This  wine  is  drank  quite  hot,  and  it  is  an  admira- 
ble drink,  especially  when  the  weather  is  very  cold. 

XXX.  To  imitate  muscat  wine . 

In  a cask  of  new  white  wine  (that  is  to  say,  before  it  has  wor- 
ked) introduce  by  the  bung-hole,  five  or  six  tops  of  alder  flow- 
ers dried  up.  Let  these  flowers  hang  by  a string,  and  eight  or 
ten  days  after  take  them  out  again.  You  will  obtain  a wine 
which  will  not  differ  from  muscat. 

XXXI.  A violet  water . 

Infuse  some  violets  in  cold  brandy.  When  these  have  lost 
their  colour,  take  them  out,  and  put  in  new  ones.  Repeat 
this  till  you  are  satisfied  with  your  tincture.  When  you  take 
the  violets  out,  you  must  press  them  gently  ; then  sweeten  that 
brandy  according  to  discretion;  and,  if  you  choose,  you  may 
add  again  a little  orange-flowers  for  the  sake  of  the  odour. 

XXXII.  To  make  a clear  and  white  hypocras. 

To  every  one  pint  of  claret  add  eight  ounces  of  sugar,  and 
nine,  if  it  be  white  wine  ; half  a lemon,  four  cloves,  a little  ci- 
namon,  which  should  be  double  the  quantity  of  cloves,  three 
grains  of  pepper,  four  of  coriander,  a little  bit  of  ginger,  and 
eight  almonds  cut  in  bits.  Let  the  whole  be  bruised  and  put 
into  a pan,  with  the  wine  poured  over  it ; stir,  infuse  one  hour 
and  strain  through  the  flannel  bag. 

XXX I II.  To  make  the  true  Eau-de-Noiau. 

Pound  one  pound  of  apricot  kernels,  without  reducing  them 
into  oil.  Then  bruise  another  pound  of  cherry-stones,  wood, 
and  kernels  all  together.  Put  all  in  a pitcher  of  five  or  six  gal- 
lons, in  which  put  only  three  and  a half,  or  four  gallons  of  the 
best  brandy,  and  two  of  water  ; five  pounds  of  sugar  ; to  every 
one  quart  of  liquor,  add  two  grains  of  white  pepper,  and  eight 
drachms  of  cinnamon,  both  bruised.  Let  all  infuse  foity-eight 
hours,  and  then  strain  the  liquor  through  the  flannel  bag. 


' SECRETS  IN  ARTS,  TRADES,  &c.  173 

XXXIV.  An  admirable  oil  of  sugar. 

Rinse  a matrass  with  vinegar,  put  in  it  some  dry  powder  su- 
gar, or  lump  sugar  pulverised.  Keep  that  matrass  on  hot 
ashes,  turning  and  whirling  it  round  and  flat  ways,  by  means 
of  the  neck  of  the  matrass  which  you  hold  in  your  hands  with 
a cloth,  and  stop  it  not.  The  effect  is  such,  the  heat  occasions 
the  vapours  to  rise  about  the  matrass,  which  by  turning  and 
whirling  it,  as  above-mentioned,  makes  the  sugar  which  is  in  it 
resoak  and  imbibe  them  again.  This  operation  dissolves  the 
sugar,  and  reduces  it  into  a sort  of  oil. 

XXXV.  An  admirable  essence  of  red  sugar. 

1.  Pulverise  five  pounds  of  the  best  double  refined,  or  royal 
sugar;  which  done,  put  along  with  eight  ounces  of  brandy  in  a 
large  matrass,  over  a sand  bath.  Distil  some  part  of  this  first, 
on  a slow  fire,  to  avoid  burning  the  sugar.  Re-put  the  distil- 
led liquor  over  the  sugar  again  in  the  matrass.  Continue  to 
distil  and  pour  the  liquor  again  in  the  matrass  over  the  sugar, 
till  the  sugar  becomes  red,  which  will  happen  at  the  seventh  or 
eighth  iteration  of  distillation. 

2.  Now  distil  out  all  the  brandy,  and  on  the  remaining  sugar 
pour  common  water,  which  distil  also,  then  add  some  more, 
continuing  so  to  do,  till  you  have  drawn  out  all  the  tincture  of 
the  red  sugar. 

3.  Take  next  all  these  red  waters,  and  run  them  through  the 
filtering  paper,  then  distil  the  phlegm  on  a gentle  fire  to  siccity 
(or  dryness).  Put  again  this  distilled  phlegm  on  the  residue. 
Which  place  all  together  in  a cold  cellar.  You  will  find  some 
red  crystals,  which  pick  up,  and  when  dry,  pulverise;  then 
pour  brandy  over  to  dissolve.  This  admirable  quintessence  of 
sugar  has  the  virtue  of  preserving  the  radical  moistness  of  the 
inside,  and  our  health. 

XXXVI.  Another  oil  of  sugar  y excessively  good. 

Cut  off  the  end  of  a large  lemon,  of  which  squeeze  out  the 
juice  ; then  fill  it  with  fine  sugar,  and  apply  to  it  again  the  cut- 
off piece.  Put  it  in  a clean  glazed  pipkin,  which  place  to  boil  a 
quarter  of  an  hour;  put  it  in  a bottle ; it  will  never  congeal, 
and  that  oil  is  good  for  the  stomach,  colds,  catarrhs,  Sc c.  The 
dose  is  one  table  spoonful  at  a time. 


Q 


174  SECRETS  IN  ARTS,  TRADES,  &c. 

XXXVII.  How  to  extract  the  essential  oil  from  any 
flower. 

Take  any  flower  you  like,  which  stratify  with  common  sea 
salt  in  a clean  earthen  glazed  pot.  When  thus  filled  to  the  top, 
cover  it  well,  and  carry  it  to  the  cellar.  Forty  days  after  put 
2 crape  over  a pan,  and  empty  all  on  it  to  strain  the  essence  from 
the  flowers  by  pressure.  Bottle  that  essence,  and  expose  it  four 
or  five  weeks  in  the  sun,  and  dew  of  the  evening  to  purify.  One 
single  drop  of  that  essence  is  enough  to  scent  a whole  quart  of 
liquor. 

XXXVIII.  Essence  of  jessamine , roses , and  other 
flowers. 

1.  Take  roses  of  a good  colour,  and  fresh  gathered.  Pick 
all  the  leaves,  which  expand  in  the  shade  on  a paper.  For  two 
or  three  days,  during  which  you  are  to  leave  them  there,  as- 
perse them,  morning  and  evening,  with  rose  water,  stirring  them 
each  time. 

2.  When  this  hath  been  performed,  put  them  in  a glass,  or 
varnished  vessel,  which  stop  as  perfectly  as  you  can,  and  place 
in  the  hottest  horse-dung,  which  renew  every  five  days.  A 
fortnight  after  this,  place  the  vessel  in  a balneo  mar  ice,  adapting 
a bolt-head  to  it  and  a receiver,  and  lute  all  well.  Distil  the 
water,  on  which  you  observe  the  essence  swimming.  This  you 
must  divide  by  means  of  a wick,  or  filtering  paper.  Put  the 
essence  in  a glass  phial  well  stopped. 

XXXIX.  The  oil  of  cinnamon . 

Bruise  first  the  cinnamon  coarsely  in  a mortar,  and  put  it  a- 
soaking  in  water,  in  which  add  a little  pounded  tartar,  with  a 
table  spoonful  or  two  of  honey.  Eight  or  ten  days  after,  place 
the  vessel  on  a sand  bath,  and  you  wili  obtain  by  distillation,  an 
excellent  oil  of  cinnamon. 

XL.  To  draw  the  essential  oil  of  roses. 

Pound  in  a mortar  thirty  pounds  of  leaves  of  roses  with  three 
pounds  of  common  decrepitated  salt ; then  put  all  in  a pot  well 
luted,  which  set  in  a cool  place.  Fifteen  or  eighteen  days  after, 
moisten  well  this  matter  with  common  water,  stirring  it  till  redu- 
ced into  a pap.  Then  put?it  in  an  alembic  with  its  refrigerator. 
Make  a smart  fire,  which  will  send  first  the  water,  next  the  oil, 
susceptible  of  congealing  by  cold,  and  liquifying  again  by  heat. . 


SECRETS  IN  ARTS,  TRADES,  &c. 

One  drop  of  that  oil  gives  more  smell  a hundred  times  than  the 
distilled  water  from  the  same  roses. 

XLI.  An  essence  of  jessamine . 

Dissolve  over  the  fire,  one  quarter  of  a pound  of  sugar  in  a. 
quarter  of  a pint  of  common  water.  After  having  skimmed  it, 
boil  it  to  a perfect  evaporation  ; then  take  it  off  the  fire,  and 
fling  two  handfuls  of  jessamine  flowers  in  it.  Cover  the  vessel, 
and  two  hours  after,  strain  the  essence,  and  bottle  it.  It  is  an 
agreeable  odour.  The  dose  is  one  drop  only,  or  two  per  pint 
of  liquors. 

XLII.  j Essence  of  ambergris . 

Set  to  infuse,  half  a dozen  of  lemon  peels  in  three  half  pints 
of  spirit  of  wine,  set  them  thus  in  a cold  place  for  two  days,  in 
a vessel  well  stopped.  After  that  time  take  off  the  peels,  which 
squeeze  through  a linen,  and  put  as  many  fresh  ones  in  the 
stead,  which  reiterate  three  different  times.  When  you  take 
off  the  last  peels,  grind  three  grains  of  ambergris  and  one  of 
musk,  which  put  with  the  spirit  of  wine  in  a matrass  over  a gen* 
tie  fire,  till  the  amber  is  perfectly  dissolved.  There  will  fell 
some  ground  at  the  bottom  of  the  matrass,  decant  the  clear  part 
from  it  in  a bottle,  and  keep  it  for  use. 

Note • This  essence  might  be  made  with  the  burning  spirit 
roses. 

XLTH.  Essence  of  capon  and  other  fowls. 

Cure  the  inside  of  any  fowl,  by  taking  away  all  the  entrails. 
Fill  it  with  lump  sugar,  pulverised  and  mixed  with  four  ounces 
of  damask  raisins,  perfectly  stoned.  Sew  the  fowl  up  again, 
and  put  it  in  a pipkin,  which  cover  carefully  with  its  lid,  and 
lute  all  round  with  paste.  Place  this  pot  in  an  oven,  when  the 
bread  goes  in,  and  take  it  out  along  with  it.  Then  uncover  it, 
and  strain  the  liquor  through  a cloth,  with  expression  of  the  an- 
imal. This  essence  is  the  greatest  restorative  for  old  or  enerva- 
ted people  ; likewise  to  hasten  the  recovery  of  health  after  long 
illness.  Take  two  large  table  spoonfuls  early  in  the  morning 
fasting,  and  as  much  at  night  after  supper. 

XLIV.  Virginal  milk. 

1.  Take  one  ounce  and  a half  of  benjamin  ; storax  as  much-, 
and  one  of  eastern  white  balm.  Put  all  in  a thick  glass  phial, 
with  three  half  pints  of  spirit  of  wine,  which  pour  over.  Put 


1/6 


SECHETS  IN  ARTS,  TRADES,  kc. 


this  in  digestion  over  hot  ashes,  till  the  spirit  of  wine  appears 
of  a fine  red  colour. 

2.  To  use  it,  put  four  drops  in  half  a pint  of  water,  and  it 
instantly  turns  as  white  as  milk. 

S.  Exteriorly  used,  it  whitens  the  skin,  if  you  wash  with  it ; 
it  has  likewise  the  same  effect  upon  teeth,  by  rinsing  the  mouth 
and  rubbing  them  with  it.  Interiorly  taken,  it  cures  the  heats 
and  burning  of  the  extinction  of  the  voice. 

XLV.  How  to  colour  any  sort  of  liquor . 

Bruise  into  a coarse  powder  some  sanialum  ruhrum>  which 
put  into  a bottle  with  a discretionable  quantity  of  spirit  of  wine 
poured  over  it.  In  five  or  six  hours  time  the  tincture  will  be 
very  high;  therefore  it  will  be  fit  to  give  a colour  to  any  liquor 
you  chuse,  by  pouring  some  of  it  into  the  liquor,  and  shaking 
it  till  you  find  it  is  coloured  to  your  liking. 

XLV I.  A ladles  fine  rouge  not  hurtful  to  their  shin 

like  other  rouges,  wherein  there  always  enters  a mix - 

lure  of  lead  or  quicksilver. 

The  above  preparation  of  santalum  rubrum>  modified  with 
common  water  to  take  off  the  strength  of  the  spirit  of  wine, 
and  an  addition  of  one  clove,  a little  civet,  a little  cinnamon, 
and  the  bulk  of  a filbert  of  alum,  per  quarter  of  a pint  of  liquor, 
with  safety. 

XLVII.  A fine  smelling  water , at  a small  expence , 

Take  two  quarts  of  rose-water  drawn  by  distillation  in  halneo 
mar  ice,  which  put  in  a large  bottle  filled  with  fresh  rose  leaves. 
Stop  this  bottle  well  with  a cork  and  Wax,  then  expose  it  to  the 
sun,  for  a month,  or  six  weeks ; afterwards  decant  the  liquor 
into  another  bottle,  in  which,  for  every  one  quart  of  liquor,  add 
two  grains  weight  of  oriental  musk,  and  cork  it  well.  This 
yvater  is  of  a charming  fragrancy,  and  lasts  a great  while.  It 
communicates  the  odour  to  them  you  touch  after  having  rub- 
bed your  hands  with  it. 

XLVIXI.  To  make  an  imitation  of  coffee. 

1.  Take  any  quantity  of  horse  beans,  which  put  into  a pan 
to  roast  over  xhe  fire,  till  they  begin  to  blacken.  Then  tr,ke  a 
little  honey  with  the  point  of  a knife  and  put  it  among  the  beans, 
turning  them  well  with  it,  till  soaked  in  the  beans,  repeating 


SECRETS  IN  ARTS,  TRADES,  &c  1 ft 

the  same  process  till  they  are  of  a deep  brown  chesnut  colour. 
Now  take  them  from  the  fire,  and  while  they  are  quite  burning 
hot,  put  for  every  large  handful  of  beans,  half  an  ounce  of  casta 
mundata , with  which  imbibe  them  well  by  stirring  and  shaking 
in  the  pan  as  much  as  you  can,  and  they  are  done. 

2.  These  grind  in  the  mill  and  make  coffee  of,  it  will  have 
the  same  taste  and  flavour  as  the  true  Moca-coffee,  so  as  not 
to  be  distinguished  from  it  by  the  greatest  connoisseurs. 

Note,  This  coffee  may  be  drank  either  thick  or  clear,  with 
sugar  as  usual, 

XLIX.  Another  way. 

Take  a quart  of  rye,  which  clean  and  roast  as  the  beans  in  a 
pan  till  of  a fine  brown,  then  grind  it.  To  use  it,  mix  it  half 
and  half  with  the  true  coffee,  and  make  it  as  usual,  by  putting 
it  in  boiling  water  and  letting  it  boil  five  minutes. 

Note.  This  coffee  is  much  used  among  the  people  of  quality, 
who  prefer  it  to  strengthen  the  stomach,  especially  when  taken 
before  going  to  bed. 

L.  Directions  for  fire  flaring  the  true  coffee * 

1.  True  coffee  must  be  roasted  in  an  iron  pan,  or  in  a glazed 
earthen  pan,  over  a clear  charcoal  fire  without  flames.  Turn  it 
with  a stick  while  it  is  on  the  fire,  to  make  each  grain  roast 
more  regularly  and  equally.  It  is  well  roasted  when  it  is  all  of 
a dark  brown. 

2.  There  is  a much  better  method  of  roasting  it,  by  means 
of  a certain  iron  drum  made  in  the  form  of  a ladies  muff-box, 
with  a handle  at  one  end,  an  iron  peg  at  the  other,  and  a latch 
door  in  the  middle.  By  this  door  you  introduce  the  coffee, 
v/hich  you  fasten  in  it  by  means  of  the  latch.  Then  propping 
it  on  the  top  of  a chafingdish  made  on  purpose,  in  which  there 
is  a charcoal  fire,  you  roast  the  coffee  by  turning  the  drum  over 
it  with  the  abovementioned  handle ; and  thus  the  coffee  roasts 
in  the  most  regular  manner. 

3.  When  the  coffee  is  roasted,  grind  it,  keep  it  closely  con- 
fined in  leaden  boxes,  with  a screwing  lid.  However  it  is  still 
much  preferable  to  grind  no  more  at  a time  than  what  one 
wants  to  use  at  once. 

4.  The  liquor  is  made  by  putting  one  ounce  of  that  powder 
to  three  quarters  of  a pint  of  boiling  water  to  make  three  full 
dishes.  And,  after  an  infusion  often  minutes,  during  which  it 
is  kept  boiling,  the  coffee  is  fit  for  drinking. 

Q 2 


1 78  SECRETS  IN  ARTS,  TRADES,  &c. 

LI.  A receipt  for  making  chocolate, 

1.  Dissolve  in  a copper  pan  some  pulverised  royal  lump 
sugar,  with  a little  orange  water.  When  the  sugar  is  turned 
into  a syrrup  throw  in  the  cocoa,  the  vanelloe,  the  cinnamon. 
Mexican- pepper,  and  cloves,  all,  and  every  of  which,  ought  to 
have  been  first  reduced  into  an  impalpable  powder.  Stir  all 
well  while  it  boils ; and  when  you  judge  it  to  be  sufficient- 
ly done,  pour  the  paste  on  a very  smooth  and  polished  table, 
that  you  may  roll  it,  and  give  it  whatever  form  and  shape  you 
like. 

2.  To  prepare  it  with  either  milk  or  water,  in  which,  when 
boiling  hot,  you  first  dissolve  it,  then,  with  a box-mill,  with  a 
long  handle,  you  mill  if  to  froth  in  the  pot  in  which  it  is  making* 
and  pour  it  afterwards  in  cups  to  drink. 


CHAP.  XIV. 


Secrets  relative  to  the  Confectionary  business^ 

I.  Raspberry  syrup . 

MASH  the  raspberries,  and  dilute  them  with  a moderate 
addition  of  water,  then  strain  them  to  divide  the  thick 
from  the  clear  part.  To  every  quart  of  this  clear  liquor  put 
one  pound  of  lump  sugar  pulverised,  boil  all  together  on  the 
fire  in  the  preserving  pan.  Skim  and  clarify  carefully  the  sugar 
with  the  white  of  an  egg  beaten  in  water.  When  the  syrup  is 
come  to  its  right  degree,  (which  you  may  know  by  throwing 
a drop  of  it  in  a glass  of  water,  if  the  drop  sinks  whole  to  the 
bottom,  and  fixes  itself  there,  without  running  out  along  with 
the  w~ater,  when  you  throw  this  away)  take  it  off  the  fire,  and 
let  it  cool  for  bottling. 

II.  Apricot  syrup . 

Cut  in  small  bits  six  pounds  of  very  ripe  apricots,  which  boil 
in  a gallon  of  water  till  they  are  reduced  to  a pulp.  Let  them 
cool,  then  squeeze  them  through  a sieve.  Now  strain  again 
this  liquor  through  the  jelly-bag,  and  put  it  in  the  preserving 
pan  on  the  fire,  with  four  pounds  of  sugar.  Skim,  clarify,  and 
boil  the  whole  to  a syrup,  which  try  as  above  directed  in  a 
glass  of  water ; and,  when  done,  let  it  cool,  and  bottle  it  to 
keep  for  use. 

III.  The  verjus  syrup . 

Have  'verjus  in  grapes,  which  pick  out  of  its  stalks,  and 
pound  in  a marble  mortar.  Strain  it  through  a sieve  first,  then 
through  a jelly-bag  to  get  it  finer.  To  two  quarts  of  this  juice, 
put  into  a preserving  pan,  add  four  pounds  of  sugar,  and  boil 
it  according  to  art  to  a syrup. 

IV.  A general  manner  of  making  syrups , applicable  iv 
almost  all  sorts  of  fruits,  especially  currants . 

1.  Pick  a quantity  of  red  currants  of  all  their  stalks,  and 
squeeze  them  through  a sieve  in  a,  commodious  vessel.  Carry 
this  vessel  to  the  cellar,  placing  it  on  a stool,  or  any  suspend* 


180 


SECRETS  IN  ARTS,  TRADES,  kc, 

ing  shelf  from  the  ground;  and,  after  that  juice  shall  have 
worked  three  or  four  days,  strain  it  through  a sieve  in  another 
vessel,  then  through  the  flannel  bag  to  get  it  as  clear  as  possi- 
ble. 

2.  Now  for  every  two  quarts  of  such  liquor,  have  four  pounds 
of  sugar,  which  put  in  a preserving  pan,  and  melt  over  the 
fire,  with  a little  common  water  to  help  the  dissolution  of  it. 
Boil  it  thus  to  the  consistence  of  caramel,  without  burning  it ; 
and,  when  at  that  degree,  pour  through  the  holes  of  the  skim- 
mer the  measured  liquor,  which  must  boil  also  to  a perfect  sy- 
rup according  to  the  afore  prescribed  trials.  All  this  being 
well  executed,  take  it  off,  let  it  cool,  and  bottle  it  for  use. 

Note.  All  sorts  of  syrups,  such  as  cherries,  raspberries,  and 
others,  may  be  made  in  the  same  manner,  with  this  difference 
only,  that  they  are  not  to  be  put  to  work  in  the  cellar,  but  em- 
ployed directly  as  soon  as  the  juice  is  squeezed  out  of  the  fruits. 

V.  To  make  liquid  currant  jam. 

Pick  four  pounds  of  currants,  and  clear  them  of  their  stalks. 
Put  aside  two  pounds  and  a half  of  them  in  a dish,  and  squeeze 
the  other  one  pound  and  a half  remaining.  Now,  in  a preser- 
ving pan,  dissolve  four  pounds  of  sugar  ; and,  when  come  to 
a syrup,  put  in  the  two  pounds  and  a half  of  whole  currants 
along  with  one  pound  and  a half  of  juice  of  the  same,  and  boil 
all  together  to  perfection. 

VI.  To  make  the  same  with  cherries . 

Have  two  pounds  of  the  finest  cherries,  take  off  both  tail  and 
stones.  Press  out  the  juice  of  them  and  put  it  in  a preserving 
pan  with  a pint  of  water,  and  four  pounds  of  sugar.  Boil  all 
together,  then  add  six  other  pounds  of  the  finest  cherries,  from 
which  the  tails  only,  and  not  the  stones,  have  been  picked. 
Boil  all  to  a syrup,  and  when  this  stands  the  trial  of  the  glass 
of  water,  as  mentioned  above,  all  is  done,  and  fit  for  potting. 

VII.  Another  way  to  preserve  cherries . 

Put  eight  pounds  of  cherries  either  with  or  without  their 
stones,  in  an  earthen  pan  over  a moderate  charcoal  fire,  to  eva- 
porate their  superfluous  moistness ; keep  incessantly  stirring, 
taking  care  to  avoid  mashing  them.  Then  add  four  pounds  of 
lump  sugar  pulverised,  continue  to  stir  the  cherries,  and  boil 
all,  so  that  the  hubbies  should  cover  the  fruit,  and  that  the 
syrup  might  hereby  be  skimmed  till  done  to  perfection,  when 
a drop  of  it  runs  with  difficulty,  being  cold ; then  the  cherries 
are  fit  to  pot. 


SECRETS  IN  ARTS,  TRADES,  &c.  181 

VIII.  To  make  the  liquid  raspberry  jam . 

Boil,  to  a strong  syrup,  four  pounds  of  sugar.  When  done, 
take  the  pan  off  the  fire,  and  put  in  four  pounds  of  raspberries 
well  picked,  and  not  mashed  in  the  least.  Put  them  in  gently 
at  first,  and  with  a very  particular  care,  for  fear  of  squeezing 
them  ; for,  when  the  heat  of  the  syrup  has  once  seized  them, 
they  are  not  so  apt  afterwards  to  break.  Stir  them  therefore  a 
little  in  the  sugar,  and  when  they  have  thrown  in  their  juice, 
put  them  again  on  the  fire,  to  complete  the  making  of  the  syrup- 

IX.  To  preserve  apricots . 

Chuse  a quantity  of  apricots,  just  turned,  but  not  ripe,  and 
the  fruit  of  which  has  still  all  its  hardness  and  greenness.  Take 
out  the  stones  by  means  of  a small  bladed  knife,  which  intro- 
duce at  the  point  of  the  apricot  till  you  feel  the  stone,  and  then 
push  to  make  it  come  out  at  the  tail.  When  you  have  thus 
prepared  four  pounds  of  them  (weighed  after  stoning)  have  a 
large  wide  pan  of  boiling  water  on  the  fire,  in  which  throw 
them  in  order  to  blanch  them,  taking  great  care  that  they  should 
not  spot  in  the  water.  When  blanched,  take  them  out  with  a 
skimmer,  and  set  them  a-draining  on  a sieve.  Then  boil  and 
clarify  four  pounds  of  sugar  into  a syrup.  When  done,  take  it 
out,  and  put  in  your  apricots  softly,  set  them  again  on  the 
fire,  and  give  them  two  or  three  bubbles ; take  the  pan  from 
the  fire  and  let  them  cool.  By  this  means  they  throw  off  their 
superfluous  moistness  and  take  the  sugar.  When  cold,  take 
them  from  the  sugar  with  a skimmer,  and  set  them  a-draining, 
while  you  put  the  syrup  on  the  fire  to  boil.  When  drained, 
put  them  again  into  the  boiling  syrup,  and  give  them  five  or  six 
bubbles  more,  after  which  let  them  rest  till  the  next  day,  put 
them  again  on  the  fire,  and  finish  them.  They  will  be  what  is 
called  Liquid,  and  you  may  pot  them  in  that  state. 

X.  How  to  make  a dry  preserve  of  them . 

Proceed  as  above  directed,  till  the  time  they  are  fit  for  being 
potted  in  liquid,  instead  of  which  take  them  again  out  of  the 
syrup,  and  set  them  a draining,  then  range  them  on  slates  at 
regular  distances,  so  that  they  may  not  touch  one  another. — ■ 
When  thus  prepared,  powder  on  them,  through  a silk  sieve, 
some  of  the  finest  loaf  sugar  pulverised,  and  put  them  in  the 
stove  to  dry.  When  dry  on  that  side,  take  them  out  from  the 
slates,  and  turning  them  the  other  side  upwards  on  a sieve,  or 
some  sort  of  small  light  willow  grates  made  on  purpose  \ pow- 


m 


SECRETS  IN  ARTS,  TRADES,  Stc. 


der  them  with  sugar  as  before,  and  when  equally  dried  and 
cooled,  you  may  put  them  in  boxes  with  white  brown  paper. 

Note.  All  sorts  of  plums  admit  of  the  same  mode  of  opera- 
tion, to  make  them  into  dry  or  liquid  preserves. 

XI.  To  fi  reserve  green  apricots. 

1.  Gather  apricots,  when  green  and  fresh.  Then  pound 
some  sait  in  a mortar,  and  make  it  as  fine  as  possible,  and  put- 
ting a handful  of  this  salt  in  a napkin,  with  as  many  apricots  as 
you  can  well  manage,  fold  the  napkin  lengthways,  bringing 
the  long  sides  of  it  over  the  apricots,  and  taldng  the  ends  of  it 
gathered  one  in  each  hand,  shake  and  roll  them  backwards 
and  forwards  with  the  salt  in  the  napkin,  adding  a spoonful  or 
two  of  vinegar,  which  pour  over  them  when  thus  agitated. — 
This  is  to  cure  them  of  their  down,  and  when  this  is  obtained) 
throw  them  in  cold  water,  and  continue  so  to  do  with  the  rest* 

2.  Having  well  washed  them  in  that  first  water,  put  them 
into  new  cold  water,  after  which  put  them  draining  on  a sieve. 
Then  boil  some  water,  and  throw  them  in,  where  they  are  to 
be  kept  boiling  till  they  are  soft,  which  try  now  and  then,  by 
taking  one  or  two  with  the  skimmer,  and  thrusting  in  a fine 
skewer ; if  this  gets  an  easy  admittance  in  the  apricots,  they 
are  sufficiently  done.  Now  take  the  pan  from  the  fire,  and 
with  the  skimmer  take  the  apricots  from  that  boiling  water 
into  some  cold. 

3.  When  your  apricots  are  in  this  condition,  make  a syrup 
with  as  many  pounds  of  sugar  as  you  have  fruit,  and  having 
put  in  your  apricots,  let  them  boil  very  gently.  They  will  im- 
mediately turn  of  a very  fine  green.  You  must  not  press  on  the 
finishing  of  them  ; on  the  contrary,  take  them  off  the  fire,  and 
give  them  a couple  of  hours  rest,  during  which  they  throw  off 
their  moistness,  and  take  the  sugar.  After  they  have  thus  rest- 
ed, set  them  again  on  the  fire,  and  finish  them  as  fast  as  you 
can,  that  they  may  preserve  their  greenness. 

XII.  To  make  the  Cotignac  liquid. 

Pare  the  quinces,  and  cut  them  small,  after  having  taken 
away  the  cores  and  kernels.  Put  a gallon  of  water  a-boiling, 
then  put  them  in,  and  let  them  boil  till  reduced  almost  to  a 
pulp.  Strain  all  through  a cloth,  and  squeeze  it  well  into  a 
bowl.  Then  set  it  on  the  fire  in  the  preserving  pan,  with  four 
pounds  of  sugar,  and  boil  it  gently,  till  taking  some  with  the 
skimmer,  and  letting  it  fall  on  a plate,  it  shall  rise  up  like  a 
jelly,  push  on  the  fire,  and  in  five  minutes  after  the  Cotignac 
is  done. 


SECRETS  IN  ARTS,  TRADES,  &c. 


183 


Note . If  you  put  the  peel  and  kernels  into  a knot,  and  boil 
them  in  that  manner  in  the  water,  the  jam  will  sooner  be  red.' 

XIII.  To  preserve  quinces  in  red. 

1.  Chusethe  most  even  quinces  not  stony.  Cut  them  into 
four  or  eight  quarters  as  you  like  best,  then  pare  and  core 
them.  If  you  meet  with  any  stones  in  the  quarters,  cut  them 
off  too.  As  you  prepare  them  thus,  throw  them  into  cold 
water.  Save  the  peels  and  cores,  and  mixing  among  them, 
when  all  your  fruits  are  prepared,  such  of  them  as  are  small, 
crooked,  and  otherwise  ill  formed,  and  unfit  to  go  along  with 
the  others,  boil  all  in  a sufficient  quantity  of  water,  to  make  a 
strong  decoction,  which  pass  when  done,  and  strain  through  a 
strong  cloth  into  a pan. 

2.  In  this  decoction  put  other  quarters,  and  boil  them  in  the 
preserving  pan.  When  sufficiently  done,  put  as  many  pounds 
of  sugar  as  you  had  fruit.  Boil  this  gently,  and  in  a short  time 
the  quinces  will  become  most  beautifully  red.  When  they  are 
come  to  perfection,  take  them  off  the  fire  and  pot  them,  but 
do  not  cover  them  for  a day  or  two  after. 

XIV.  To  do  the  same  in  white * 

1 . You  must  not  make  the  decoction  of  the  parings.  When 
the  fruit  is  pared,  you  must  throw  it  into  boiling  water,  and 
let  it  continue  to  boil  on  the  fire,  till  sufficiently  done  ; then 
take  it  out  with  the  skimmer,  and  put  it  draining  on  the  sieve. 

2.  While  they  are  thus  draining,  make  a syrup  ; and  when 
this  is  skimmed  and  clarified  properly,  put  your  fruit  in  it  boil- 
ing. Ten  minutes  after,  take  the  pan  from  the  fire,  and  let  all 
rest  a while,  then  squeeze  on  it  the  juice  of  a lemon  to  whiten 
the  quinces  $ and  setting  them  again  on  the  fire,  finish  them 
quickly. 

XV.  To  preserve  rousselet,  muscadine,  and  other 
pears. 

1.  Chuse  rousselet  pears,  which  should  be  neither  too  ripe 
nor  too  green  ; which  pare  very  neatly,  and  boil  in  water  till 
properly  done.  Before  boiling  them  observe  to  strike  them  to 
the  heart  from  the  head,  with  the  point  of  a knife.  When 
properly  done  in  the  boiling  water,  take  them  out  with  the 
skimmer,  and  throw  them  into  fresh  water. 

2.  Make  next  a syrup,  with  as  many  pounds  of  sugar  as.  you 
have  pears,  in  which  put  these,  and  boil  them  five  or  six  mi- 
nutes at  first,  then  take  them  from  the  fire,  and  let  them  rest 


184 


SECRETS  IN  ARTS,  TRADES,  kc. 


a while  to  throw  out  their  superfluous  moistness,  and  take  the 
sugar.  That  done,  set  them  again  on  the  fire,  to  complete  them 
quickly. 

Note . By  doing  as  above,  you  will  have  a liquid  preserve  of 
pears,  if  you  want  to  have  them  dry,  follow  the  directions  in 
Art.  x.  with  respect  to  apricots. 

XVI.  A preserve  of  green  almonds . 

1.  Prepare  a lye  of  pearl  ashes,  in  which  wash  your  almonds 
to  rub  their  down  off.  Wash  them  in  another  water,  then  in 
boiling  water,  where  they  are  to  boil  till  softened,  but  not  to 
open,  which  try  now  and  then,  by  thrusting  a fine  skewer  in 
some  of  them.  When  done  enough,  skim  them  out  from  this 
water,  and  throw  them  into  cold,  then  set  them  draining  in  a 
sieve. 

2.  Now  make  a syrup,  and  throw  your  almonds  in  while 
boiling.  They  will  immediately  recover  their  green  ; then  fi- 
nish them  as  expeditiously  as  you  can,  for  fear  they  should 
turn  black.  If  you  want  to  keep  them,  you  must  put  pound 
for  pound  of  fruit  and  sugar. 

XVII.  To  make  dry  portable  cherries. 

Prepare  four  pounds  of  fine  Kentish  cherries,  by  depriving 
them  of  their  stones  and  tails.  Then  have  one  pound  of  sugar, 
which  put  a dissolving  on  the  fire  in  a pint  of  water.  When 
this  begins  to  boil,  throw  your  cherries  quickly  in,  and  make 
them  boil  thus  in  the  sugar  till  the  syrup  begins  to  thicken, — 
When  they  are  sufficiently  done,  take  them  from  the  fire,  and 
let  it  cool,  after  which  put  them  a draining  in  a sieve;  then 
range  them  on  slates,  and  powder  through  a sieve  some  sugar 
all  over  them,  and  place  them  in  the  stove,  or  for  want  of  this 
conveniency,  in  a baker’s  oven,  after  the  bread  has  been  taken 
out.  When  dry  on  one  side  turn  them  on  the  other,  and  pow- 
der them  over  with  sugar  as  you  did  before  ; dry  them  in  the 
same  manner,  and  box  them  when  cold,  to  keep  for  use. 

Note.  Plumbs  may  be  done  in  the  same  manner.  This  sort 
of  preserve  is  very  agreeable,  and  may  be  carried  any  where. 

XVIII.  To  make  an  ap'icot , or  peach  jam. 

I.  Chuse  the  ripest  apricots,  which  clean  of  all  hard  knobs, 
spots  and  rotted  parts.  Cut  them  in  small  bits  in  a preserving 
pan,  which  have  previously  weighed.  If  you  have  put  four 
pounds  of  apricots  in  it,  reduce  them  by  boiling  over  a gentle 
fire  to  two  pounds  only,  which  you  must  find  out  by  weigh- 


SECRETS  IN  ARTS,  TRADES,  See. 


IBS 

ing  pan  and  fruit  together,  now  and  then,  till  you  find  your 
right  weight.  When  this  is  the  case,  put  among  your  apricots 
thus  reduced  to  one  half,  two  pounds  of  lump  sugar  pulverised, 
and  mix  all  well  for  the  space  of  five  minutes  over  the  fire,  then 
take  all  off,  let  it  cool,  and  pot. 

2.  This  composition  you  may  put  into  paste,  on  slates  or  in 
tin  moulds.  There  is  not  more  exquisite  eating.  You  may  al- 
so, with  two  or  three  roasted,  or  baked  apples,  mix  two  spoon- 
fuls of  this  marmalade,  and  make  excessive  nice  tarts  with  it, 
or  again,  with  pears  baked  under  ashes. 

XIX.  An  apricot  jam , after  the  French  way. 

1.  Chuse  such  ripe  apricots  as  are  fit  to  eat.  Peel  their  skin 
off  very  neatly,  and  give  them  a bubble  or  two  in  boiling  water, 
so  as  not  to  have  them  dissolve  in  the  water,  and  put  them 
draining.  When  done,  mash  them  through  a sieve,  and  let 
them  rest  a time  to  evaporate  their  superfluous  moistness. 

2.  While  this  is  doing,  make  a syrup  with  as  many  pounds 
of  sugar  as  you  have  fruit,  and  take  it  off  the  fire  ; when  the 
syrup  is  cooled,  put  your  fruit  in,  which  stir  well  with  the  spa- 
tula, then  put  all  again  on  the  fire  tor  ten  minutes,  in  order  to 
make  the  fruit  take  well  the  sugar.  When  the  jam  is  well 
done,  fine  and  transparent,  pot  it. 

XX.  To  make  raspberry , currant , aud  cherry  jam . 

All  these  fruits  must  be  squeezed  through  a sieve,  then  clari- 
fy the  sugar,  and  throw  in  the  juice,  bring  to  perfection  after- 
wards as  directed  in  the  last  receipt. 

XXI.  To  make  a good  currant  jelly . 

Have  four  pounds  of  currants,  after  picking.  Then  dissolve 
in  water  four  pounds  of  loaf  sugar,  which  make  into  a pretty 
strong  syrup.  Now  put  the  currants  in,  and  boil  so  as  to 
have  them  covered  with  the  bubbles.  Six  minutes  after  such 
a boiling,  take  the  pan  from  the  fire,  and  pour  the  contents  in 
a sieve,  to  strain  off  all  the  liquid.  Put  this  liquor  again  in  the 
pan  and  boil  it,  till  taking  a drop  with  the  skimmer,  and  pour- 
ing it  on  a plate,  it  congeals  as  it  cools.  Then  it  is  fit  to  pot. 

They  who  want  to  spare  the  sugar,  and  have  a great  deal  of 
jelly,  at  a smaller  expence,  may  employ  four  pounds  only  of 
sugar  to  six  of  currants,  after  picking,  and  proceed  as  above.— 
They  must  however  observe  to  do  the  jelly  rather  more  than 
in  the  preceding  case,  when  the  fruit  and  sugar  are  pound  for 
pound. 


R 


186  SECRETS  IN  ARTS,  TRADES,  &c. 

XXII.  To  make  an  apple  jelly. 

1.  Cut  in  small  bits  a dozen  of  gold  rennets,  and  put  them 
in  the  preserving  pan,  with  three  quarts  of  water,  which  boil  ta 
the  reduction  of  one  half.  Throw  all  in  a cloth  to  strain  it 
through,  and  draw  all  thejuice  from  the  apples.  Then  to  this 
put  four  pounds  of  sugar,  which  boil  to  a jelly. 

2.  To  give  a pointe  to  that  jelly,  you  may  add  the  juice  of 
one  lemon,  and  even  the  rasping  of  one  half  of  its  rind. 

XXIII.  A conserve  with  raspings  of  Portugal  oranges 
and  lemons , conjointly  or  sepa?'ately. 

Put  your  raspings  to  dry  in  3 plate.  Prepare  some  sugar 
into  a syrup.  Take  this  from  the  fire,  and  stir  it  with  a spoon, 
round  the  pan  and  in  the  middle  ; then  throw  in  your  raspings 
of  lemon  or  orange,  or  both  together,  and  having  stirred  ail 
well,  put  it  in  the  moulds  and  make  your  drops. 

XXIV.  To  whiten  cherries , currants , raspberries , 
grapesy  strawberries , and  such  like  fruit . 

Beat  one  or  two  whites  of  eggs  with  orange  flower  water, 
then  steep  your  fruit  in,  and  roll  it  afterwards  in  a dish  where- 
in there  is  lump  sugar  pulverised  and  sifted  very  fine.  When 
it  is  well  covered  over  with  sugar,  put  it  on  a sheet  of  paper, 
and  set  it  in  the  sun  to  dry.  You  may  thus  ice  ail  sorts  of 
fruits  susceptible  of  icing. 

XXV.  To  make  Savoy  biscuits. 

1.  Separate  the  whites  of  four  eggs  from  their  yolks.  Beat 
them  by  themselves  to  a very  hard  froth,  at  which  time  put  the 
yolks,  previously  well  diluted,  and  continue  bearing  all  togeth- 
er. Now  introduce  half  a pound  of  sugar  pulverised,  and  beat 
them  all  together  again. 

2.  When  you  are  ready  to  dress  your  biscuits,  have  a quar- 
ter of  a pound  of  superfine  flour,  which  incorporate  by  beating 
well,  then  dress  it  on  a sheet  of  paper  in  the  form  you  like  best, 
and  ice  them  over  with  sugar  in  powder  to  prevent  their  run- 
ning. Put  them  in  an  oven,  no  hotter  than  for  massepins,  and 
after  a reasonable  time  they  will  be  done. 

XXVI.  To  make  bitter  almond  biscuits . 

Pound  in  a mortar,  three  quarters  of  a pound  of  bitter  and 
one  quarter  of  sweet  almonds.  When  thus  pounded  have  eight 


. 


SECRETS  IN  ARTS,  TRADES,  &c.  187 

•r  nine  yolks  of  eggs,  which  beat  up  and  mix  with  your  paste 
of  almonds,  and  two  pounds  of  pulverised  lump  sugar  This 
paste  must  be  a deal  harder  than  that  of  the  Savoy  biscuits.— 
Then  with  the  end  of  a knife  taking  some  of  that  paste,  place  it 
[ in  rows  on  a sheet  of  paper,  in  what  form  or  shape  you  like, 
and  ice  it  with  pulverised  sugar,  then  put  it  in  the  oven  as  you 
do  the  Savoy  biscuits  or  massepins. 

XXVII.  How  to  fireserve  orange  peels  all  the  year , 
but  especially  in  May . 

Cut  some  oranges  in  four  quarters  and  peel  them.  Then 
put  the  peels  to  soak  in  water  for  about  ten  or  twelve  days  ; 
then  dry  them  between  two  cloths,  and  put  them  in  a caldron 
with  a sufficient  quantity  of  honey  to  half  cover  them.  Boil 
them  thus  one  minute  or  two,  stirring  them  incessantly.  Then 
take  them  off  the  fire,  and  let  them  rest  till  the  next  day,  put 
them  on  again,  and  let  boil  ten  minutes  or  a quarter  of  an  hour. 
For  six  or  seven  days  repeat  the  same  operation,  faking  great 
care  incessantly  to  stir,  turn  them  all  the  while  they  are  on  the 
I fire.  On  the  eighth  day  change  the  honey,  and  in  the  fresh 
1 honey  boil  them  five  minutes,  then  pot  them  with  that  new 
honey  in  which  they  boiled  last,  and  keep  them  for  use,  after 
having  added  some  cinnamon,  cloves,  and  white  ginger,  mix- 
ed and  both  reduced  into  subtiie  powder. 

XXVIII.  To  make  a paste  with  whatever  fruit  it  may 

be. 

Take  whatever  quantity  you  please  of  any  fruit,  which  peel 
and  boil  well  in  water,  then  strain  the  juice  through  a sieve  or 
I flannel.  Now  weigh  ten  pounds  of  that  paste  of  fruit,  and  ten 
more  of  sugar  pulverised.  Mix  first  five  pounds  of  sugar  with 
ten  pounds  of  fruit,  and  put  it  a-doing  on  the  fire ; then  mix 
four  more  pounds  of  your  sugar.  When  done,  put  with  a 
spoon  (on  iron  plates  previously  powdered  with  some  of  the 
sugar  which  was  left)  some  of  that  paste.  Set  these  to  dry  on 
a chafing  dish,  in  the  sun,  or  in  the  open  air,  turning  and  re- 
turning them  often,  and  powdering  them  morning  and  evening 
with  sugar.  When  these  little  cakes  are  perfectly  dry,  put 
them  in  Dutch  deal  boxes,  and  in  white  papers,  that  they  may 
not  touch  each  other. 

Note . In  the  same  manner  you  may  make  the  conserve  of 
roses,  bugloss,  burrage,  red  currants,  &c. 

XXIX,  Genoa  biscuits. 

Take  four  ounces  of  sugar  in  powder,  one  pound  of  flour, 


188 


SECRETS  IN  ARTS,  TRADES,  &e. 


little  coriander  and  aniseeds  in  powder,  which  mix  with  foiit* 
eggs  and  as  much  lukewarm  water  as  needs  to  make  a dough 
of  the  whole.  Bake  it  in  the  oven,  and  when  baked,  cut  it  ill 
five  or  six  slices,  which  you  bake  again. 

XXX.  The  queen's  cakes  or  biscuits. 

Take  twelve  ounces  of  flour,  one  pound  of  fine  sugar  in  pow- 
der, and  twelve  eggs,  from  which  take  out  three  yolks,'  with 
coriander  and  aniseeds.  Beat  and  mix  all  together,  till  it  comes 
to  a thick  but  running  paste.  Some  add  yeast  to  make  it  light- 
er and  rise  higher.  Divide  this  paste  into  several  paper  cases, 
of  the  width  of  two  fingers,  and  twice  as  long,  which  putin  an 
oven  to  bake  ; but  take  care  that  it  be  not  too  warm. 

XXXI.  Macaroons, 

Pound  well  one  pound  of  sweet  almonds,  moistening  them 
with  rose  water.  Introduce  one  pound  of  sugar,  and  beat  all 
well  in  a soft  paste,  which  put  round  a dish,  and  half  bake  in  a 
lukewarm  oven.  When  the  paste  is  half  done,  cut  it  in  small 
round  pieces,  and  having  ranged  them  on  a sheet  of  paper,, 
finish  baking  them. 

XXXII.  P articular  method  (f  making  cakes. 

Wash  and  clean  well  a dozen  of  eggs,  and  wipe  them  tho- 
roughly dry.  Then  break  them  and  take  their  whites  only, 
which  beat  in  a mortar  along  with  their  shells  till  these  latter 
be  perfectly  dissolved.  Now  add  sugar  and  flour,  though  not 
so  much  flour  as  sugar.  When  all  is  well  mixed,  spread  the 
paste,  which  ought  to  be  a little  firm,  on  a sheet  of  paper,  and 
after  having  glazed  it,  bake  it  in  a slow  oven. 

XXXIII.  A cream  which  cuts  as  a rice  pudding. 

Beat  in  a dish  two  whites  of  eggs  and  one  yolk,  in  which, 
while  you  beat,  introduce  by  degrees  a quarter  of  a pound  of 
sugar,  in  proportion  as  it  melts,  and  a pap  spoonful  of  rose  wa- 
ter. When  completed,  pour  in  the  dish,  and  stir,  a quart  6f 
milk  and  cream  mixed  half  and  half,  then  set  it  gently  on  warm 
cinders,  to  take  without  boiling,  not  disturbing  it  any  more. — 
In  an  hour’s  time  it  generally  is  sufficiently  taken.  Then  co- 
lour it  in  passing  a red  hot  shovel  over  it.  It  is  to  be  served 
cold,  after  having  rasped  some  sugar  on  it. 


SECRETS  IN  ARTS,  TRADES,  &c. 


189 


XXXIV.  To  make  an  exceeding  good  boiled  cream . 

Take  cream  from  the  cow,  which  boil  with  a crum  of  stale 
bread,  rasped  very  fine,  and  a little  fresh  but'ter.  As  soon  as 
it  begins  to  quake,  stir  it  continually  with  a spoon  ; and  having 
diluted  some  yolks  of  egss,  strain  them  through  a cloth.  Put 
as  much  salt  and  sugar  in  your  cream  as  you  think  it  requires. 
And  when  it  boils  and  begins  to  rise,  pour  the  yolks  of  eggs 
in,  never  ceasing  to  stir  it  in  order  to  prevent  its  rising  so  far 
as  to  run  over.  As  soon  as  you  see  it  begins  to  render  the  but- 
ter, take  it  out  of  the  fire,  and  to  serve,  glaze  it  over  with  su- 
gar in  power. 

XXXV.  A method  of  making  cakes  exceeding  fne. 

Take  two  whites  of  eggs,  which  beat  well  to  a froth,  after 
having  taken  away  their  germen.  Add  one  quarter  of  a pound 
of  fine  flour,  and  as  much  powdered  sugar.  Beat  all*  well, 
and  add  a little  brandy  and  coriander  seed  powdered.  All 
being  well  mixed,  spread  the  paste  on  sheets  of  white  paper, 
glaze  it  over  with  powdered  sugar,  and  put  it  to  bake* 


190 


CHAP.  XV. 


Secrets  relative  to  the  art  of  preparing  Snuff. 


I.  How  to  reduce  tobacco  into  powder. 

UNCORD  the  tobacco,  and  spread  the  leaves  to  dry  in  the 
sun.  Then  pound  them  in  a mortar,  and  sift  through  a 
coarse  sieve  to  get  the  coarsest  powder  out  of  it.  As  for  sift- 
ing, observe  to  do  it  in  due  proportion  as  you  pound  it,  and 
not  to  pound  much  at  a time.  You  may  also  take  another 
method,  that  of  grinding  it  in  one  of  those  small  mills  which 
are  made  on  purpose  for  grinding  tobacco.  By  these  means 
you  may,  without  much  trouble,  make  it  as  coarse  and  as  fine 
as  you  like,  by  screwing  tighter  or  slacker  the  nut. 

II.  How  to  purge  snuff,  and  prepare  it  for  admitting  of 
odours. 

Have  a small  tub  pierced  with  a hole  at  bottom,  which  you 
may  stop  and  unstop  with  a cork  as  you  want  it.  In  this  tub 
put  a very  thick  and  close  weaved  cloth,  which  turn  over  the 
rim  of  the  tub  and  fix  there  by  the  outside.  Put  your  snuff  in 
it,  and  pour  water  over  it.  After  it  has  soaked  thus  twenty- 
four  hours,  unstop  the  hole  of  the  tub  and  let  the  water  drain 
away,  wringing  the  cloth  in  which  it  is  to  help  the  expression 
of  the  water.  Repeat  this  operation  three  different  times  to 
purge  it  the  better.  When  this  operation  is  performed,  set  the 
snuff  to  drying  in  the  sun.  When  dry,  put  it  again  in  the  tub 
in  the  same  manner  as  before,  and  soak  it  again,  not  with  com- 
mon water,  but  with  some  smelling  ones,  such  as  for  example, 
orange  flower  wafer,  eau  dJange>  &c.  Twenty-four  hours  af- 
ter let  the  water  run  off  and  drain,  then  set  it  in  the  sun  to  dry 
as  before.  In  the  mean  while  stir  and  asperse  it  again  with 
smelling  water.  Such  is  the  indispensible  preparation  absolute- 
ly reo^isite  to  dispose  snuff  to  receive  the  odour  of  flowers.  If 
you  do  not  care  to  have  it  so  perfectly  nice,  and  should  not  like 
to  waste  so  much  of  it,  you  may  give  it  but  one  wash  of  the 
common  water.  This  moderate  purgation  will  do  pretty  well 
especially  if,  while  it  is  a drying  in  the  sun,  you  knead  it  the 
more  often  in  proportion  with  your  fragrant  waters,  and  let  it 
dry  each  time  between. 


SECRETS  IN  ARTS,  TRADES,  kc;  X91 

III.  How  to  perfume  snuff  with  flowers. 

The  tuberose,  the  jessamine,  the  orange  flowers,  &c.  and 
those  which  communicate  the  more  easily  their  fragrancy  to  the 
snuff.  To  produce  this,  have  a box  lined  with  white  paper 
perfectly  dry,  in  which  make  a bed  of  snuff  of  the  thickness  of 
an  inch,  then  one  of  flowers,  another  of  snuff,  and  another  of 
flowers  again,  continuing  so  to  do  till  you  have  employed  all 
your  snuff.  After  having  let  this  stratification  subsist  for  twen- 
ty-four hours,  separate  the  flowers  from  the  snuff  by  means  of 
the  sieve,  and  renew  the  same  stratification  again  as  before  with 
new  flowers.  Continue  thus  to  do  till  you  find  that  your  snuff 
has  acquired  a sufficient  fragrancy  from  the  flowers;  then  put 
it  in  lead  boxes  to  keep  it. 

IV.  Snuff  f mille-fleurs. 

The  mille-fleurs  * or  snuff  of  one  thousand  and  one  flowers 
is  made  by  mixing  together  a number  of  various  odouring 
flowers,  managing  the  quantity  of  each  of  them  according  to 
the  greater  or  lesser  degree  of  fragrancy  they  are  empowered 
with,  so  that  none  could  be  found  to  have  a predominancy 
over  the  other.  When  that  is  executed,  you  proceed,  as  before 
directed,  to  the  alternate  stratification  of  this  mixture  and  of 
the  snuff  powder. 

V.  The  odouring  snuff  after  the  method  practised  at 

Rome. 

Take  the  snuff  after  its  being  perfumed  with  flowers,  and  put 
it  in  a large  bowl  or  other  proper  vessel.  Pour  over  it  some 
white  wine  with  an  addition  of  essences  of  musk  and  amber, 
or  any  other  such  like  odours.  Then  stir  your  snuff  and  rub 
it  all  between  your  hands.  In  this  manner  you  may  have  srmff 
of  whatever  odour  you  desire,  which,  to  distinguish  from  each 
other,  you  put  into  separate  lead  boxes  with  a particular  mark;, 

VI.  Amber -snuff. 

Pleat  the  bottom  of  a mortar,  and  pound  it  in  twenty  grains 
of  amber,  adding  by  degrees  a pound  of  snuff  to  it,  which  rub 
and  mix  afterwards  with  your  hands  to  introduce  the  odour  the 
better  among  it. 

VII.  The  odouring  snuff \ Malthese  fashion . 

Xa fce  a snuff  ready  prepared  with  orange  flower  water,  (&s 


m 


SECRETS  IN  ARTS,  TRADES,  &e. 


directed  art.  ii.)  then  perfume  it  with  amber  as  we  have  just 
said  ; after  which  with  ten  grains  of  civet,  pound  with  a little 
sugar  in  a mortar,  introduce  again  your  snuff,  by  degrees,  to 
the  quantity  of  a pound  for  these  ten  grains,  increasing  either 
the  snuff  or  the  odours  in  the  same  proportion  to  each  other. 

VIII.  The  true  Mahhese  method  of  preparing  snuff. 

Take  rose  tree  and  liquorice  roots,  which  peel  and  reduce 
them  into  powder  and  sift  it,  then  gi  e it  what  odour  you  like, 
adding  white  wine,  brandy  or  spirit  of  wine,  and  mix  your  snuff 
well  with  this.  Such  is  the  true  Malthese  method  of  preparing 
snuff. 

IX.  The  Spanish  method  of  preparing  perfumed  snuff, 

1.  Pound  in  a small  mortar  twenty  grains  of  musk  with  a lit- 
tle sugar.  Add  by  degrees  as  much  as  a pound  of  snuff  to  it ; 
then  pound  ten  grains  of  civet,  and  introduce  your  musked  snuff 
to  it  in  a gradual  manner  as  before,  and  rub  altogether  between 
your  hands. 

2.  The  Seville  snuff  is  the  same  with  only  an  addition  of 
twenty  grains  of  'vamlla>  an  ingredient  which  enters  in  the 
composition  of  chocol ate. 

3.  They  who  are  fond  of  a milder  and  sweeter  odour  in  their 
snuff  may  increase  the  quantity  of  snuff  for  the  prescribed  doses 
of  odours,  or  diminish  the  doses  of  odours  prescribed  for  the 
quantity  of  snuff.  Take  care  not  to  let  odouring  snuff  be  ex- 
posed to  the  air,  but  keep  it  very  close  for  fear  it  should  lose 
its  fragancy. 

4.  As  the  Spanish  snuff  is  excessively  fine  and  drawing  to- 
wards a reddish  hue,  to  imitate  it  in  the  above  prescription  you 
must  chuse  fine  Holland  well  purged,  reddened  and  granulated 
pound  and  sift  it  through  a very  fine  silk  sieve.  Then  give  it 
whatever  odour  you  like,  after  having  purged  it  in  the  manner 
we  prescribed  in  this  chapter,  art.  ii. 

5.  There  is  no  inconveniency  in  taking  a snuff  already  pre- 
pared with  flowers,  to  give  it  afterwards  an  odour  of  amber, 
musk,  and  other  perfume.  On  the  contrary,  such  a snuff  is  the 
readier  to  take  the  other  odours,  and  preserve  them  so  much 
flie  longer. 


CHAP.  XVI. 


Secrets  of  taking  out  Spots  and  Stain's. 

I.  To  take  off  iron-moulds  from  linen . 

UT  boiling  water  into  a bowl,  and  spread  the  stained  parts 


of  your  linen  over  it,  as  to  be  well  penetrated  with  the 
steam  of  the  water.  Then  rub  the  places  with  sorrel  juice  and 
salt  till  they  are  perfectly  soaked.  Such  linen  washed  after- 
wards in  the  lye  of  wood  ashes,  will  be  found  to  return  entirely 
free  from  the  iron  mould  spots  it  had  before. 

II.  To  take  off  carriage  wheel  grease  from  cloaths . 

Rub  the  place  with  butter.  Then  with  blotting  paper  and 
a hot  iron  you  may  take  all  off  as  you  would  a drop  of  wax  or 
tallow  on  a cloth. 


Boil  some  chamber-lye  and  wash  the  place  with  it.  Then 
rinse  it  with  clear  water. 

IV.  To  take  off  spots  from  cloth  of  any  colour . 

Take  half  a pound  of  crude  honey,  the  yolk  of  a new  laid 
egg,  and  the  bulk  of  a nut  of  ammoniac  salt.  Mix  all  together, 
and  put  some  on  the  spots.  Having  left  it  there  a while,  wash 
the  place  with  clean  water,  and  the  spot  will  disappear. 

V.  A receipt  against  all  sorts  cf  spots  upon  stuff. 

A water  impregnated  with  alkaline  salt,  black  soap  and  bul- 
lock’s gall,  take  off  extremely  well  the  greasy  spots  from  any 
cloth  or  silk  stuff. 


Take  a piece  of  white  soap,  shaved  very  fine,  and  put  in  a 
quart  bottle  with  a wide  mouth  and  neck,  half  filled  with  lye. 
Add  to  this  the  bulk  of  a nut  of  ammoniac  salt,  two  yolks  of 


III.  Against  piss  spots . 


VI.  Against  oil  spots . 


SECRETS  IN  ARTS,  TRADE9,  &c. 


•194 

eggs,  cabbage  juice  and  bullock’s  gall  a discretionable  quantity, 
one  ounce  of  salt  of  tartar  in  subtile  powder  sifted.  Stop  the 
bottle  well,  shake  it  and  expose  it  to  the  sun  for  four  days. 
After  that  time  if  you  pour  off  that  liquor  on  any  oil  spot,  and 
rub  it  well  with  it  in  and  outside,  then  let  it  dry,  and  wash  it 
«igain  with  clear  water. 

VII.  A washing  ball  to  take  out  spots. 

Take  fuller’s  earth,  or  soft  soap  incorporated  with  vine  brush 
ashes,  white  chalk,  alum  and  tartar,  pounded  all  together  in  a 
mortar  and  sifted  through  a fine  silk  sieve.  When  all  is  made 
into  a paste  form  your  balls  with  it,  and  let  them  dry  in  the 
shade.  To  use  them,  rub  any  spotted  place  with  it,  and  wash 
it  afterwards  with  clear  water. 

VIII.  To  take  out  flitch  and  turpentine  spots . 

Rub  well  the  spot  with  oil  of  olive,  which  set  to  dry  for  one 
day.  Then  with  warm  water  and  the  above  washing  ball,  you 
will  entirely  ungrease  the  place. 

IX.  Against  ink  spots , whether  on  cloth  or  linen* 

Wet  immediately  the  place  with  lemon,  or  sorrel  juice,  of 
with  white  soap  diluted  in  vinegar. 

X.  A?iother  simple  remedy  against  ink  when  just  spilled. 

The  time  spent  in  lamenting  over  an  accident  just  happened, 
is  but  too  often  the  only  one  which  could  have  saved  and  pre- 
vented the  dire  consequences  of  it,  nay  perhaps  have  repaired 
it  entirely  without  leavingthe  least  scar  behind  had  we  ran  in- 
stantly to  the  remedy.  If  the  ink  be  spilt  on  a ruffle  or  apron, 
&c.  while  you  have  it  on,  let  one  hold  the  affected  part  between 
his  two  hands  over  a bason  and  rub  it  while  another  is  pouring 
gradually  water  from  a decanter,  and  let  a whole  pitcher  full 
be  used  if  necessary.  If  the  ruffle,  apron,  &c.  be  at  liberty  and 
not  on,  the  place  dipped  into  a bason  full  of  water,  and  there 
squeezed  and  dipped  in  again,  may  do,  provided  you  change 
the  water  in  abundance  every  two  or  three  squeezes.  If  the 
ink  be  spilt  on  a green  carpet  table,  it  may  immediately  be  ta- 
ken out  with  a tea  spoon  so  dexteriously  that  any  water  at  all 
shall  hardly  be  wanted  afterwards,  provided  it  was  only  that  in- 
stant spilt,  as  the  down  of  the  cloth  prevents  the  immediate 
soaking  of  the  ink  or  any  other  liquor,  (except  oil)  but  if  it  has 
laid  ever  so  long,  provided  it  is  still  wet,  by  pouring  a little 


SECRETS  IN  ARTS,  TRADES,  &e. 


195 

fresh  clean  water  at  a time  on  the  place,  and  gathering  it  up 
each  time  with  a spoon,  and  pressing  hard  to  squeeze  it  out  of 
the  cloth  into  the  spoon  again,  you  will  at  last  bring  it  to  its 
natural  colour,  as  if  no  such  accident  had  ever  happened, 

XI.  Against  il  spots  on  satin , silk  stuffs , or  paper . 

If  the  spot  is  fresh  done,  heat  on  the  shovel  some  ashes  from 
calcined  sheep’s  trotters ; put  some  under  and  upon  the  place. 
Then  laying  something  heavy  upon  it,  let  it  stay  for  one  night ; 
the  next  morning  the  spot  ought  to  be  gone  ; but  if  not  quite 
renew  the  precept. 

XII.  A preparatiooi  of  balls  against  spots . 

Take  half  a pound  of  soap,  four  ounces  of  clay,  and  one  of 
quick  iime.  Dilute  all  with  a little  water,  and  make  it  into 
pills  or  small  bails.  With  these  rub  the  spots,  and  wash  the 
place  afterwards. 

XIII.  For  silks. 

If  you  rub  the  spots  which  are  upon  a silk  with  spirit  of  tur- 
pentine, they  will  disappear;  because  the  volatility  of  that  spi- 
rit exhaling  into  vapour,  carries  along  with  it  the  oil  of  the  spot 
to  which  on  account  of  its  homogeneous  quality,  it  communi- 
cates its  volatility,  by  penetrating  and  subdividing  it  infinitely. 

XIV.  To  restore  gold  and  silver  lace  to  their  former 

beauty . 

Mix  equal  quantities  of  water,  bullock’s  and  jack’s  gall. 
With  this  composition,  rub  your  gold  or  silver,  and  you  will 
see  it  changing  colour  directly. 

XV.  To  restore  Turkey  carpets  to  their  first  bloom. 

Beat  the  carpet  well  with  a rod,  till  perfectly  free  from  dust. 
Then  if  there  be  any  spots  of  ink,  take  them  out  with  a lemon, 
or  with  sorrel,  and  wash  the  place  afterwards  with  clear  water. 
Shake  the  rest  of  the  water  off,  and  let  it  dry,  rub  the  carpet  ve- 
ry hard  all  over  with  the  smoaking  hot  crum  of  a white  loaf; 
and  when  you  find  in  the  evening  the  skies  clear  and  a iikelihood 
of  being  a fine  night,  let  the  carpet  be  put  out  for  two  or  three 
such  nights. 


196 


SECRETS  IN  ARTS,  TRADES,  &c. 


XVI.  To  make  tapestries  resume  their  first  brightness , 

when  their  colours  have  been  tarnished  and  spoiled , 

Shake  and  clean  well  the  tapestry  by  rubbing  it  all  over  with 
white  chalk,  which  leave  on  it  for  about  one  day.  Next  with 
a rough  hair  brush  get  all  that  chalk  out  again,  and  put  on  fresh, 
which  leave  as  before.  Then  with  the  same  rough  hair  brush 
get  this  out  also,  and  beat  it  soundly  with  a rod,  and  brush  it 
afterwards  with  the  soft  cloth-brush.  This  operation  will  re- 
store a tapestry  to  its  pristine  state. 

XVII.  To  take  off  spots  cf  wax  from  velvet  of  any  co- 

lour except  the  crimson. 

Take  the  crum  of  a stale  loaf,  and  cut  a thick  slice  out  of  it, 
Which  toast  and  apply,  while  burning  hot,  on  the  spot  of  wax; 
when  cooled,  renew  it  till  all  the  wax  is  soaked  out  of  the  vel- 
vet. 

XVIII.  To  take  the  same  from  silks  and  camblet. 

Put  on  each  wax  spot,  some  soft  soap,  and  set  it  in  the  sun 
till  grown  warm  ; then  by  washing  the  place  with  clean  water, 
the  spot  will  disappear. 

XIX.  To  wash  a gold  or  silver,  or  silk  embroidery , or 
any  stuff  whatever , and  render  it  like  new. 

Take  bullock’s  gall,  a pound,  soap  and  honey,  three  ounces 
of  each,  and  Florentine  orrice,  about  the  same  quantity  in  sub- 
tile powder.  Put  all  in  a glass  vessel,  in  which  mix  it  well  into 
a paste,  and  let  it  be  exposed  for  ten  days  in  the  sun.  When 
you  are  ready  to  use  it,  make  an  infusion  of  bran,  which  boil  in 
water  and  strain  through  a cloth.  Then  smear  the  work  over 
with  the  above-described  paste,  in  such  places  as  you  want  to 
clean,  and  wash  them  afterwards  with  bran  water,  renewing 
this  till  it  receives  no  more  alteration  in  its  colour.  Wipe  well 
the  places  with  a white  cloth,  and  wrap  the  work  in  a clean  nap- 
kin to  set  it  in  the  sun  to  dry,  after  which  pass  it  through  the 
polishing  and  lustring  pre§s,  and  the  work  will  be  as  fine  and 
bright  as  when  new. 

XX.  To  take  the  spots  off  from  silk  and  woollen  stuffs. 

Take  French  starch  without  any  mixture  of  indigo  or  blue 
whatever,  which  dilute  in  a cup  with  good  brandy  like  a thick 


SECRETS  IN  ARTS,  TRADES,  &c. 


pap.  Of  this  paste,  put  on  each  spot,  and  when  dry,  rub  it  off 
and  brush  it.  If  the  spot  is  not  quite  gone  the  first  time,  re* 
new  the  operation  and  it  certainly  will  the  second. 

XXL  To  colour  velvet  in  red . 

Take  four  ounces  of  adragant,  and  one  of  arabic  gums,  both 
of  which  pulverise.  Put  this  powder  in  clean  water,  wherein 
let  it  dissolve  for  two  or  three  days  ; then  steep  a sponge  in  the 
liquor,  and  rub  the  wrong  side  of  the  velvet.  If  after  being 
dry,  you  find  it  not  high  coloured  enough,  renew  it,  and  the 
effect  will  surprise  you. 

XXII.  To  revive  the  colour  of  a cloth , 

Pour  one  quart  of  water  on  one  pound  of  burnt  pot  ashes 
Twelve  hours  after  decant  the  water  off  in  another  vessel,  and 
put  in  a handful  of  dry  moth  mullein  leaves,  with  two  bullock’s 
galls.  Roil  all  together  till  the  leaves  go  to  the  bottom.  Then 
set  this  water  for  a few  days  in  the  sun.  Then  putting  in  it 
whatever  colour  you  want,  boil  it  with  the  cloth  in  that  lye* 
and  let  it  thus  soak  afterwards  fourteen  or  fifteen  days,  then 
the  cloth  will  have  resumed  its  primary  colour. 

XXIII.  To  take  the  sfiots  off  from  a white  cloth . 

Roil  two  ounces  of  alum  for  half  an  hour,  in  a pint,  or  a pint 
and  a half  of  water ; then  put  in  a piece  of  white  soap,  with 
another  pound  of  alum  ; and  having  soaked  thus  three  days  in 
the  cold,  you  may  with  it  wash  ail  the  spots  of  any  white  cloth 
whatever. 

XXIV.  To  take  off  the  sfiots  from  crimson  and  other 
velvets . 

1.  Take  a pint  of  lye  made  of  vine  branch  ashes,  in  which 
dissolve  half  an  ounce  of  alum  dregs.  When  settled,  strain  it 
through  a cloth  ; then  take  another  drachm  of  alum,  half  a 
drachm  of  Spanish,  and  as  much  of  soft  soap,  a scruple  of  com- 
mon, and  half  a drachm  of  ammoniac  salts,  a calfs  gall,  and  a lit- 
tle calendine  juice.  All  being  well  mixed,  strain  and  keep  it  for 
use. 

2.  Refore  using,  take  the  quantity  you  think  to  have  need  of 
in  a cup,  in  which  put  a little  brazil  wood  and  hour  re  (Tecarlattc 
(or  goat’s  hair,  from  the  dyers,  dyed  with  madder)  to  boil  a 
bubble  or  two,  then  strain  through  a cloth.  In  that  state,  your 

S 


198 


SECRETS  IN  ARTS,  TRADES,  &c. 


preparation  will  be  fit  to  take  off  the  spots  from  crimson,  ei- 
ther  cloth  or  velvet. 

Note . For  cloths  or  velvets  of  other  colours,  tinge  your  li- 
quor with  hourre , or  goat’s  hair  of  the  same  colour. 

XXV.  To  take  off  an  oil  spot  from  cloth . 

Take  oil  of  tartar,  which  put  on  the  spot,  then  wash  it  im- 
mediately  with  lukewarm  water,  then  with  two  or  three  cold 
waters,  and  it  will  be  perfectly  cleansed. 

XXVI.  A composition  of  soap  to  take  off  all  sorts  of 
spots. 

1.  Take  a pound  of  Venetian  white  soap,  six  yolks  of  eggs 
and  half  a spoonful  of  salt  pounded.  Incorporate  all  together 
with  a sufficient  quantity  of  the  juice  from  the  leaves  of  white 
beet.  Make  this  composition  into  small  cakes,  which  dry  in 
the  shade. 

2.  To  use  them,  wet  the  place  of  the  cloth  where  the  spot  is, 
with  clear  water,  and  rub  it  over  on  both  sides  with  the  said 
soap,  then  washing  it  the  spot  will  disappear. 

XXVII.  To  take  the  spots  from  a white  silk  or  crimson 
velvet. 

Wet  the  place  well  with  brandy  of  three  rectifications  or  with 
the  best  spirit  of  wine,  then  smear  it  over  with  the  white  of  an 
egg,  and  set  it  to  dry  in  the  sun.  When  dry  wash  the  place 
with  clean  water,  passing  and  squeezing  it  between  your  fin- 
gers. and  if  the  spot  is  not  gone  at  the  first  operation,  it  wiH 
not  fail  at  the  second,  therefore  renew  it. 


199 


CHAP.  XVII. 

Essays  on  various  Arts  and  Trades. 

I.  A very  strong  glue. 

SOAK  the  finest  ichthyocolla  (isinglass)  twenty-four  hours 
in  spirits  of  wine,  or  strong  brandy  ; then  boil  all  very  gen- 
tly together,  continually  stirring  it  that  it  may  not  burn,  until 
it  becomes  one  liquor.  Then  strain  it  while  hot  through  a 
coarse  linen  cloth,  into  a vessel  where  it  may  be  kept  clos'e 
stopped  ; a gentle  heat  will  melt  this  glue  for  to  use. 

II.  Another  glue . 

Glue  is  made  in  Europe  of  the  ears,  feet,  trimrtiings,  sinnews 
and  scrapings  of  the  skins  of  oxen,  calves,  sheep,  &c.old  leath- 
er, and  fresh  or  raw  hides  mixed  are  manufactured  together  ; 
and  this  mixture  is  said  to  yield  one  third  of  its  weight  in  good 
strong  glue.  The  best  glue  is  from  the  hides  of  old  animals. 
Whole  skins  are  very  seldom  used,  unless  they  are  much  injur- 
ed by  the  worm,  rotted,  or  otherwise  rendered  unfit  to  make 
leather ; but  the  smallest  pieces  are  saved  for  the  purpose. 

In  making  glue  of  pieces  of  fresh  skins,  let  them  be  steeped 
in  water  for  two  or  three  days.  Dried  hide  may  require  longer 
time,  and  bits  of  leather  much  longer.  While  soaking  they 
should  be  stirred  occasionally.  Then  put  them  to  drain  in 
hand  barrows  with  grated  bottoms,  or  in  boxes  with  sloping 
sides  and  grated  bottoms.  When  drained,  let  them  be  well 
washed  in  several  waters.  The  ears  and  other  dirty  parts 
should  be  steeped  and  washed  by  themselves.  After  they  be 
washed  dean,  put  them  into  a weak  lime-water,  in  iron  hoop- 
ed tubs.  Leather  will  require  to  be  kept  in  a weak  lime  water 
a considerable  time,  and  a little  fresh  lime  should  be  added 
occasionally.  Allumed  skins,  tallowed,  greasy,  bloody,  or 
hairy  skins  should  be  put  into  a stronger  lime  water,  and  kept 
longer  in  it.  - They  some  times  require  to  be  taken  out,  so  as 
to  permit  the  lime  to  dry  on  them,  and  to  remain  for  a con- 
siderable time ; after  which  they  must  be  again  soaked,  and 
well  stirred  ; then  press  them  out  as  dry  as  possible,  and  put 
them  into  a copper  kettle  for  boiling,  at  the  bottom  of  which 
kettle  should  be  a wooden  grate.  The  copper  should  be  filled 
with  the  materials  pressed  close,  and  as  much  water  poured  on 
as  will  run  among  the  pieces.  Make  a moderate  fire,  which 
increase  by  degrees,  till  it  boils.  As  the  materials  melt  into 


WO  SECRETS  IN  ARTS,  TRADES,  Sec. 

glue,  some  decrease  the  fire  without  stirring  them  ; others  sfii? 
them  as  they  dissolve.  When  the  glue,  on  cooling,  forms  a 
pretty  thick  jelly,  it  is  done.  The  time  of  boiling  is  from 
twelve  to  fifteen  hours,  according  to  the  fire.  Violent  heat  is 
to  be  avoided. 

After  this  a box  is  made  with  wooden  gratings  for  the  bot- 
tom ; the  inside  of  the  grating  bottom  is  to  be  lined  with  horse- 
hair cloth,  and  the  box  to  be  placed  over  a large  tub  ; the  glue 
is  to  be  passed  through  this  horse  hair  cloth,  or  strainer,  quick- 
ly, while  it  is  very  hot.  The  dregs  are  left  to  drain  sometime, 
and  are  called  by  the  workmen  glue  dung  ; they  make  an  ex- 
cellent fuel,  mixed  with  wood.  The  room  should  be  kept 
warm  while  the  glue  is  settling.  In  the  tub  there  should  be 
cocks  to  draw  off  the  hot  liquid  glue.  The  first  glue  will  be 
brightest,  but  the  last  will  be  equally  good.  Through  the 
cocks  it  must  run  into  flat  moulds,  previously  wet.  When 
cool,  cut  it  out  with  a wet  knife  into  squares,  and  hang  it  on  a 
line  to  dry  and  harden,  in  a draught  of  air.  Some  place  it  on  a 
net,  hung  on  four  posts,  turning  it  occasionally.  Ten  days  of 
dry  weather,  or  fifteen  days  of  wet  (under  cover)  are  required 
in  Europe  ; but  less  time  will  dry  it  in  America.  To  polish 
the  cakes,  wet  them,  and  rub  them  with  new  lime.  The  best 
glue  has  few  dark  spots,  and  no  bad  smell,  and  shines  when 
broken.  To  try  glue,  put  it  into  cool  water  for  three  or  four 
days,  where  it  must  not  dissolve,  but  when  dried  must  preserve 
Its  weight. 

III.  A parchment  glue. 

Put  two  or  three  pounds  of  scrapings  or  cuttings  of  parch* 
ment  into  a bucket  of  water;  boil  the  whole  till  it  be  reduced 
to  half.  Pass  it  through  an  open  linen,  and  then  let  the  liquor 
cool,  when  it  will  be  parchment  glue. 

IV.  A strong  paste. 

Common  paste  is  made  of  wheat  flour  boiled  in  water  till  it 
be  of  a glutinous  or  viscid  consistence ; but  when  used  by 
"book-binders  and  paper  hangers,  it  is  requisite  to  mix  a fourth* 
fifth,  or  sixth  of  the  weight  of  the  flour  of  powdered  resin  or 
Tosin  ; and  where  it  is  wanted  still  more  tenacious,  gum  arabic, 
or  any  kind  of  size,  may  be  added.  In  order  to  prevent  the 
paste  used  in  papering  rooms,  &c.  from  being  gnawed  by  rats 
and  mice,  powdered  glass  is  sometimes  mixed  with  it.  But  the 
most  effectual  and  easy  remedy  is,  to  dissolve  a little  sublimate, 
say  a drachm  to  a quart  of  the  water  used  in  making  the  paste, 
which  will  hinder  not  only  rats  and  mice,  but  any  other  kind 
of  vermin  and  insects,  from  preying  on  the  paste. 


SECRETS  IN  ARTS,  TRADES,  &c. 


m 


V.  Process  for  dying  leather  red  and  yellow,  as  prac- 
tised in  Turkey , with  directions  for  preparing  and 
tanning  the  skins,  as  communicated  by  Mr.  Philippo , 
a native  of  Armenia,  who  received  from  the  society  for 
the  encouragement  of  arts  in  London,  one  hundred 
pounds  sterling,  and  also  the  gold  medal  of  the  society , 
as  a reward  for  discovering  this  secret. 

First  preparation  of  the  skins,  both  for  red  and  yellow  leather , 
by  dressing  them  in  lime . 

Let  the  skins,  dried  with  the  hair  on,  be  first  laid  to  soak  irv 
dean  water,  for  three  days  ; let  them  then  be  broken  over  the 
flesh  side,  put  into  fresh  water  two  days  longer,  and  afterwards 
hung  up  to  drain  for  half  an  hour.  Let  them  now  be  broken 
on  the  flesh  side,  limed  in  cold  lime  on  the  same  side,  and 
doubled  together  with  the  grain  side  outward.  In  this  state, 
they  must  be  hung  up  within  doors,  over  a frame,  for  five  or 
six  days,  till  the  hair  be  loose,  which  must  then  be  taken  off, 
and  the  skins  be  returned  into  the  lime  pit,  for  about  three 
weeks.  Take  them  out,  and  let  them  be  well  worked,  flesh 
and  grain,  every  sixth  or  seventh  day  during  that  time ; after 
which  let  them  be  washed  ten  times  in  clear  water,  changing 
the  water  each  time.  They  are  next  to  be  prepared  in  drench, 
as  hereafter  mentioned. 

Second  preparation  of  the  skins,  for  both  the  red  and  yellow  dyes , 
by  drenching . 

After  squeezing  the  water  out  of  the  skins,  put  them  into  a 
mixture  of  bran  and  water,  warm  as  new  milk,  in  the  follow- 
ing proportion,  viz.  about  three  pounds  of  bran  for  five  skins, 
and  water  sufficient  to  make  the  mixture  moderately  flued, 
which  will  be  about  a gallon  to  each  pound  of  bran.  In  this 
drench  let  the  skins  lie  three  day,  at  the  end  of  which  time 
they  must  be  well  worked,  and  afterwards  returned  into  the 
drench  two  days  longer ; they  must  then  be  taken  out  and 
rubbed  between  the  hands,  the  water  squeezed  from  them,  and 
the  bran  scraped  off  clean  from  both  sides  of  the  skin.  After 
this  they  must  be  again  washed  ten  times  in  clear  water  and  the 
water  squeezed  out  of  them. 

Thus  far  the  preparatory  process  of  all  the  skins  is  the  same, 
whether  intended  to  be  dyed  red  or  yellow  * but  afterwards 
those  which  are  to  be  dyqd  red,  must  be  treated  as  follows : 

Preparations , in  honey  and  bran , of  the  skins  that  are  to  he  dyed 

red* 

Mix  one  pound  of  honey  with  three  pints  of  lukewarm  wav 
8 2 


SECRETS  IN  ARTS,  TRADES,  kc. 


ter,  and  stir  them  together  till  all  the  honey  is  dissolved.  Then 
add  two  double-handfuls  of  bran,  and  taking  four  skins  (for 
which  the  above  quantity  of  mixture  will  be  sufficient)  and 
work  them  well  in  it  one  after  another.  Afterwards  fold  up 
each  skin  seperately,  into  a round  form,  with  the  flesh  side  in-* 
wards,  and  lay  them  in  an  earthen  pan,  or  other  proper  vessel ; 
if  in  the  summer,  by  the  side  of  each  other,  but  in  the  winter 
on  the  top  of  each  other.  Place  the  vessel  in  a sloping  posi- 
tion, so  that  such  parts  of  the  fluid  as  may  spontaneously  drain 
from  the  skins  may  pass  from  them.  An  acid  fermentation  will 
then  rise  in  the  liquor,  and  the  skins  will  smell  considerably. 
In  this  state  they  must  continue  for  seven  or  eight  days,  but 
the  moisture  that  drains  from  them  must  be  poured  off  once  or 
twice  a day,  as  occasion  may  require.  After  this,  a farther 
preparation  in  salt  is  necessary,  which  must  be  performed  in 
the  following  manner. 

Preparation , in  salt , for  the  skins  to  be  dyed  red . 

After  the  skins  have  been  fermented  in  the  honey  and  bran, 
as  before  mentioned,  let  them  be  taken  out  of  that  mixture  on 
the  eighth  or  ninth  day,  and  well  rubbed  with  dry  common 
sea  salt,  in  the  proportion  of  about  half  a pound  to  each  skin, 
the  salt  must  be  well  worked  and  rubbed  with  them.  This 
will  make  them  contract  again,  and  part  with  a further  consid- 
erable quantity  of  moisture,  which  must  be  squeezed  out  by 
drawing  each  skin  separately  through  the  hand.  They  must 
next  be  scraped  clean  on  both  sides  from  the  bran,  superfluous 
salt,  and  moisture  that  may  adhere  to  them.  After  which  dried 
salt  must  be  strewed  on  the  grain  side,  and  well  rubbed  in  with 
the  hand.  They  are  then  to  be  doubled  with  the  flesh  side 
outward,  lengthways,  from  head  to  tail,  and  a little  more  dry 
salt  must  be  thinly  strewed  over  the  flesh  side,  and  rubbed  in  ; 
for  the  two  last  operations,  about  a pound  and  a half  of  salt 
will  be  sufficient  for  each  skin.  They  must  then  be  put,  thus 
folded,  on  each  other,  between  two  clean  board s^placed  sloping 
breadthwise,  and  a heavy  weight  laid  on  the  upper  board,  in 
order  gradually  to  press  out  what  moisture  they  will  thus  part 
with.  In  this  state  of  pressure  they  must  be  continued  two 
days,  or  longer,  till  it  is  convenient  to  dye  them,  for  which 
they  will  then  be  duly  prepared. 

Preparations  of  the  red  dye , in  a proper  proportion  for  four  skins 

Put  eight  gallons  of  water  into  a copper,  with  seven  ounces 
of  shenari,  the  root  of  alkanet  is  also  used,  tied  up  in  a linen 
bag.  Light  a fire  under  the  copper,  and  when  the  water  has 
boiled  about  a quarter  of  an  hour,  take  out  the  bag  of  shenan, 
md  put  into  the  boiling  fluid  or  lixivium,  1st.  two  drachms  o£ 


SECRETS  IN  ARTS,  TRADES, 

alum ; 2dly . two  drachms  pomegranate  bark  ; 3dly.  three  quar- 
ters of  an  ounce  of  turmeric  ; 4thly.  three  ounces  of  cochineal ; 
5thly.  two  ounces  of  loaf  sugar.  Let  the  whole  mixture  boil 
about  six  minutes,  then  cover  the  fire,  and  take  out  a quart  of 
liquor,  putting  it  into  a flat  earthern  pan  ; as  when  it  is  as  cool 
as  new  milk,  take  one  skin,  folded  lengthwise,  the  grain  side 
outwards,  and  dip  it  in  the  liquor,  rubbing  it  gently  with  the 
hands.  Then  taking  out  the  skin,  hang  it  up  to  drain,  and 
throw  away  the  superfluous  dye.  Proceed  in  the  same  man- 
ner with  the  remaining  three  skins;  and  repeat  the  operation 
of  each  skin  separately  eight  times,  squeezing  the  skins  by 
drawing  them  through  the  hands  before  each  fresh  dipping. 
Lay  them  now  on  one  side  of  a large  pan,  set  sloping,  to  drain 
off  as  much  of  the  moisture  as  will  run  from  them  without 
pressure,  for  about  two  hours,  or  till  they  are  cold  ; then  tan 
them  as  hereafter  directed. 

Tanning  the  red  skins . 

Powder  four  ounces  of  the  best  white  galls  in  a marble  mor- 
tar, sifting  it  through  a fine  sieve.  Mix  the  powder  with  about 
three  quarts  of  water,  and  work  the  skins  well  in  this  mixture 
for  half  an  hour  or  more,  folding  up  the  skins  fourfold.  Let 
them  lie  in  this  tan  for  twenty-four  hours,  when  they  must  be 
worked  again  as  before  ; then  taken  out,  scraped  clean  on  both 
sides  from  the  first  galls,  and  put  into  a like  quantity  of  fresh 
galls  and  water.  In  this  fresh  mixture  they  must  be  again 
well  worked  for  three  quarters  of  an  hour ; then  folded  up  as 
before,  and  left  in  the  fresh  tan  for  three  days.  On  the  fourth 
day  they  must  be  taken  out,  washed  clean  from  the  galls  in 
seven  or  eight  fresh  quantities  of  water,  and  then  hung  up  to  dry. 

Manner  of  dressing  the  skins  after  they  are  tanned . 

When  the  skins  have  been  treated  as  above,  and  are  very 
-near  dry,  they  should  be  scraped  with  the  proper  instrument 
or  scraper  on  the  flesh  side,  to  reduce  them  to  a proper  degree 
of  thickness.  They  are  then  to  be  laid  on  a smooth  board, 
and  glazed  by  rubbing  them  with  a smooth  glass  ; after  which 
they  must  be  oiled,  by  rubbing  them  with  olive  by  means  of  a 
linen  rag,  in  the  proportion  of  one  ounce  and  a half  of  oil,  for 
four  skins  ; they  are  then  to  be  grained  on  a graining  board, 
lengthwise,  breadthwise,  and  from  corner  to  corner. 

Preparation  (with  galls  for  the  skins  to  he  dyed  yellow* 

After  the  four  skins  are  taken  out  of  the  drench  of  bran,  and 
dean  washed  as  before  directed  in  the  second  article,  they  must 
be  well  worked  half  an  hour  or  more,  in  a mixiure  of  a pound 


204 


SECRETS  m ARTS,  TRADES,  &c. 


and  a half  of  the  best  white  galls,  finely  powdered,  with  two 
quarts  of  clean  water.  The  skins  are  then  to  be  separately 
doubled  lengthwise,  rolled  up  with  the  flesh  side  outwards, 
laid  in  the  mixture,  and  close  pressed  down  on  each  other,  in 
which  state  they  must  continue  two  whole  days.  On  the  third 
day,  let  them  be  again  worked  in  the  tan,  and  afterwards  scra- 
ped clean  from  the  galls  with  an  ivory  or  brass  instrument,  (for 
no  iron  must  touch  them.)  They  must  then  be  put  into  a fresh 
tan,  made  of  two  pounds  of  galls  finely  powdered,  and  about 
three  quarts  of  water,  and  well  worked  therein  fifteen  times. — - 
After  this  they  must  be  doubled,  rolled  up  as  before,  and  laid 
in  the  second  tan  for  three  days.  On  the  third  day  a quarter 
of  a pound  of  white  sea  salt  must  be  worked  into  each  skin, 
and  the  skins  doubled  up  as  before,  and  returned  into  the  tan 
till  the  day  following,  when  they  are  to  be  taken  out,  and  well 
Washed  six  times  in  cold  water  and  four  times  in  water  luke- 
warm. The  water  must  be  then  well  squeezed  out,  by  laying 
the  skins  under  pressure  for  about  half  an  hour,  between  two 
boards,  with  a weight  of  two  or  three  hundred  pounds  laid 
upon  the  uppermost  board,  when  they  will  be  ready  for  the  dye. 

Preparations  of  the  yellow  dye>  in  the  proper  proportion  for  four 

skins . 

Mix  six  ounces  of  cassiare  gehira,  or  degenira,  or  the  berries 
of  the  eastern  rhamnusbuck  thorn  ; sumach  is  also  used,  with 
the  same  quantity  of  alum,  and  pound  them  together  till  they 
be  fine,  in  a marble  or  brass  mortar,  with  a brass  pestle.  Then 
dividing  the  materials  thus  powdered,  into  three  equal  parts,  of 
four  ounces  each,  put  one  of  those  three  parts  into  a pint  and  a 
half  of  boiling  water,  in  a china  or  earthen  vessel,  and  stir  the 
mixture  together.  Let  the  fluid  dye,  thus  prepared,  stand  to 
cool  till  it  will  not  scald  the  hand  ; then  spreading  one  of  the 
skins  flat  on  ata  le,  in  a warm  room,  with  the  grain  side  up- 
permost, pour  a fourth  part  of  the  mixture  first  made,  over  the 
upper,  or  grain  side,  spreading  it  equally  over  with  the  hand, 
and  rubbing  it  well  in.  Afterwards  do  the  like  with  the  other 
three  sking,  for  which  the  mixture  first  made  will  be  sufficient. 
This  operation  must  be  repeated  twice  more  on  each  skin,  sep- 
arately, with  the  remaining  eight  ounces  of  the  powder  of  the 
berries  and  allum,  with  the  abovementioned  due  proportion  of 
hot  water  put  to  them  as  before  directed. 

The  skins,  when  dyed,  are  to  be  hung  up  on  a wooden  frame 
without  being  folded,  with  the  grain  side  outwards,  about 
three  quarters  of  an  hour 'to  drain,  when  they  must  be  carried 
to  a river  or  stream  of  running  water,  and  well  washed  therein 
six  times  or  more.  After  this  they  must  be  put  under  pressure 


secrets  in  Arts,  trades,  &c. 


for  about  an  hour,  till  the  water  be  squeezed  out ; afterwards 
the  skins  must  be  hung  up  to  dry  in  a warm  room.  This  be- 
ing  done,  the  skins  are  to  be  dressed  and  grained  as  before  direc- 
ted for  those  dyed  red ; except  the  oiling,  which  must  be  omit-? 
ted. 

VL  Another  process  of  manufacturing  and  dying  me* 

rocco , the  quantity  of  materials  calculated  for  36 

skins . 

Told  the  skins  in  the  middle  lengthwise*  tie  them  six  in  a bunk 
die,  and  put  them  in  the  lime  vat ; when  sufficiently  limed,  take 
them  out,  rinse  them  in  clear  water,  drain  them,  and  hang  them 
in  the  shade  to  dry,  till  the  hair  will  come  off.  After  carefully 
taking  off  the  hair,  put  in  the  lime  vat  again,  to  remain  from 
fifteen  to  twenty  days ; they  are  then  to  be  rinsed,  and  passed 
repeatedly  through  a decoction  prepared  of  30  pounds  dogs 
dung,  and  an  equal  quantity  of  water  As  soon  as  the  skins 
are  thus  gradually  impregnated,  they  are  thrown  into  a large 
vessel  for  the  space  of  twelve  hours,  after  which  they  are  clean- 
ed with  pure  water,  and  immersed  for  seven  or  eight  days  in  a 
watery  decoction  made  of  bran. 

The  skins  are  now  wrung,  and  thoroughly  washed  in  clear 
water,  to  render  them  soft  and  pliable ; next  they  are  cured  by 
spreading  a thick  layer  of  common  sea  salt,  in  the  proportion 
of  about  half  a pound  to  each  skin,  and  piling  them  up,  till 
they  are  rendered  sufficiently  suple.  The  last  process  which 
the  skins  undergo,  previous  to  being  dyed,  is  immersion  in  a li- 
quor prepared  by  boiling  twenty-four  ounces  of  dried  figs  for 
each  skin,  in  a copper,  (it  is  believed  that  treacle  molasses  would 
answer  the  same  purpose  as  figs)  in  which  they  remain  till  they 
are  about  to  be  suspended  in  the  air  for  drying ; lastly,  they 
are  dipped  in  a solution  of  alum,  that  disposes  them  for  the 
dye. 

The  red  colour  is  prepared  by  mixing  together  various  arti- 
cles in  the  following  proportions,  which  are  required  fora  par- 
cel of  36  skins.  Cochineal,  130  drachms  ; round  suchet,  (cro- 
cus indicus,)  45;  gutta  gambia,  15;  gum  arabic,  10;  white 
alum,  pulverised,  10;  bark  of  the  pomegranate  tree,  10;  ci- 
tron juice,  2 ; common  water,  clear  and  good,  120  pounds. 

The  alum  is  gradually  added  to  the  other  articles,  which  are 
thrown  into  a copper,  where  they  should  be  boiied  for  about 
two  hours,  till  one  tenth  part  of  the  water  be  consumed.  In 
this  mixture  the  skins  are  repeatedly  immersed,  and  when  suf- 
ficiently imbued  with  the  colour,  they  are  dried,  and  again 
steeped  in  a vessel,  containing  3 pounds  of  hot  water  (for  eve- 
ry two  skins)  together  with  one  pound  of  sumach?  and  the  same 


eo  6 


SECRETS  IN  ARTS,  TRADES,  &c. 


quantity  of  gall  nuts,  pulverised  and  sifted.  As  soon  as  the 
Skins  are  completely  impregnated  with  this  liquor,  they  are 
slightly  rubbed  over  with  a sponge  dipped  in  pure  water,  and 
suspended  three  quarters  of  an  hour  to  drain.  They  are  now 
earned  to  a river,  or  in  running  water,  where  they  are  repeat- 
edly rinsed,  then  pressed  with  weights  in  order  to  extract  the 
moisture,  and  hung  up  in  a warm  room  to  dry.  The  last  pro- 
cess which  red  morocco  leather  undergoes,  is  that  of  polishing  ; 
this  is  effected  by  various  wooden  instruments,  that  contribute 
at  the  same  time  to  remove  such  of  the  particles  of  the  gall 
and  sumach  as  may  adhere  to  the  skin. 

The  yellow  colour  is  prepared  in  a manner  nearly  similar  to 
that  just  described  ; the  common  avignon  or  yellow  berries 
(graine  de  Avignon)  being  substituted  for  cochineal  and  em- 
ployed in  similar  proportions. 

The  only  variation  between  the  two  processes  of  dyeing  red 
and  yellow,  is,  that  the  red  is  tinged  with  the  colouring  mat- 
ter before  it  is  worked  or  polished  with  the  wooden  instru- 
ments ; whereas  the  polishing  is  done  to  the  skins  intended  tor* 
yellow,  previous  to  dyeing  them. 

VII.  On  the  use  of  acids  in  b leeching. 

The  use  of  acids,  in  bleeching  of  linen  has  been  long  known. 
Formerly  milk  was  chiefly  employed  ; but  it  had  several  incon- 
veniences. The  quantity  requisite  could  scarcely  be  obtained, 
its  effects  was  slow,  and  containing  animal  matter,  it  was  apt  to 
spoil  the  cloth. 

It  is  now  known  that  the  fossil  acids,  when  properly  diluted 
with  water,  answer  much  better,  and  do  more  in  a few  hours  in 
whitening  cloth,  than  animal  acids  do  in  a week,  in  facilitating 
the  operation.  It  was  at  first  feared,  that  mineral  acids  would 
corrode,  or  burn  the  linen  substances.  Experience  has  dispel- 
led these  fears,  and  convinced  the  bleachers,  that  by  proper 
management,  the  danger  is  next  to  none. 

According  to  the  strength  of  acids,  they  must  be  mixed  with 
water,  sometimes  to  seven  hundred  times  their  bulk. 

The  vitriolic  acid  is  that  which  has  been  universally  employ- 
ed; as  it  could  be  bought  in  large  quantities,  and  at  a small 
expence. 

The  muriatic  acid  being  now  sold  nearly  as  cheap  as  the  vi- 
triolic, and  answering  in  a superior  degree,  will,  no  doubt,  be 
generally  used. 

VIII.  jin  excellent  dye}  the  basis  of  many  colours . 

A decoction  of  the  seeds  of  red  Trefoil  is  mixed  with  differ* 


SECRETS  IN  ARTS,  TRADES,  &c. 


m 

ant  mineral  substances ; the  dyes  produced  are  very  beautiful, 
and  of  a great  variety.  Among  these  are  yellow  and  green  of 
different  shades,  as  also  citron  and  orange  colours. 

These  dyes  are  well  adapted  to  woollen  and  cotton  manufac- 
tures; they  resist  the  action  of  the  substances,  with  which  tri- 
als are  usually  made,  much  better  than  the  common  dyes  ; and 
promise  many  advantages,  if  adopted,  to  the  manufactures  of 
this  country. 

IX.  Discovery  for  dyeing  cotton  and  linen , in  scarlet . 
crimson , and  other  colours , 

Cotton  or  linen,  either  in  yarn  or  in  the  piece,  should  be  per- 
fectly wet  with  hot  water,  and  then  wrung  out,  as  is  the  com- 
mon practice.  This  being  done,  it  must  be  perfectly  soaked 
in  a solution  of  tin,  diluted  with  an  equal  quantity  of  clear  soft 
water.  The  cotton  or  linen  being  so  far  prepared,  must  be 
wrung  out,  but  not  forcibly  ; then  it  is  to  be  nearly  dried,  ly- 
ing horizontally  upon  a hurdle,  with  a double  linen  sheet  be- 
tween, and  covered  with  the  same.  The  solution  of  tin  being 
for  scarlet,  must  be  made  of  nitrous  acid,  and  not  of  aquafortis. 
But  for  crimson,  aquafortis  must  be  used,  and  the  bloom  is  to 
be  given,  after  it  comes  out  of  the  dye,  by  a small  quantity  of 
sal  ammoniac  and  pearl-ashes  dissolved  perfectly  in  warm  wa- 
ter, but  this  water  must  not  be  more  than  milk  warm.  The 
colouring  vat,  for  the  scarlet  or  crimson,  is  simply  cochineal  in 
water,  no  hotter  than  the  hand  can  bear;  and  as  vegetable  mat- 
ter receives  only  the  small  particles  of  the  colour  from  the  na- 
ture of  its  pores,  two  ounces  to  a pound  of  the  materials  dyed, 
may  be  necessary.  But  cotton  or  linen,  fresh  prepared,  will 
draw  from  the  same  vat,  heated  as  before,  all  the  inferior  shades 
from  scarlet  and  crimson,  and,  if  any  colour  still  remains  in  the 
vat,  it  may  be  taken  out  entirely,  by  wool  prepared  in  the  usual 
manner.  The  same  preparation  of  tin  serves  for  the  green,  and 
yellow,  with  the  same  materials  only  as  are  used  by  the  dyers, 
except  the  best  yellow,  which  is  produced  from  tumeric. 

It  is  necessary  to  observe,  that  after  the  preparation  of  tin  has 
been  used  for  scarlet  or  crimson,  the  residue  continues  suffi- 
ciently strong  for  green  and  yellow,  even  after  it  has  been  kept 
for  a considerable  time. 

N.  B.  To  make  the  best  solution  of  tin  with  nitrous  acid, 
it  is  necessary  to  have  the  strong  smoaking  spirit,  to  which  an 
equal  quantity  of  the  purest  river  water  must  he  added,  and  the 
proportions  of  the  following  ingredients  are  to  the  weight  of 
spirits  ; one  sixteenth  sal  ammoniac  ; one  thirty-second  refined 
nitre,  dissolved  by  a little  at  a time,  in  this  aquanegia  Dus* 
solve  also,  one  eighth  of  granulated  grain  tin,  by  small  quanta 


m 


SECRETS  IN  ARTS,  TRADES,  kc>. 


ties,  to  prevent  too  great  an  ebullition,  which  would  weaken 
the  solution  considerably. 

_ The  ingredients  and  proportions  are  the  same,  when  a solu- 
tion is  to  be  made  with  aquafortis ; but  that  spirit,  in  general, 
will  not  bear  any  water,  when  a perfect  solution  is  intended. 

X-  Simple  method  of  trying  the  quality  of  gun  powder . 

Put  upon  dry  white  paper  a thimble  full  of  powder  ; lightly 
touch  it  with  a burning  coal.  If  it  be  excellent,  every  grain 
will  instantly  rise  in  smoke,  only  leaving  on  the  paper  a round 
spot,  pearl  colour.  If  bad,  it  burns  the  paper.  The  mean 
effects  between  these  two  extremes  will  exactly  show  the  qual- 
ity. The  powder  burning  the  paper  a little,  is  better  than  that 
which  burns  it  much  ; and  if  it  only  blackens  it,  it  is  better 
than  if  it  burns  it. 

By  this  trial,  the  defects  in  its  composition  may  also  be  dis- 
covered. If  it  biackeri  the  paper,  it  contains  too  great  a pro- 
portion of  coal ; does  it  leave  yellow  spots,  too  much  sulphur  ; 
if  their  remain  on  the  paper  small  grains  like  pin  heads,  and 
they  should  burn  by  applying  fire,  it  is  nitre,  and  the  powder 
has  not  been  well  o il  verized.  If  these  do  not  burn,  the  nitre 
has  not  been  properly  refined. 

XL  On  dressing  sheep  shins. 

Tanned  sheep  skins,  at  this  day,  are  in  great  demand  for  a 
variety  of  uses ; but  for  want  of  proper  attention  in  taking  off 
the  wool,  the  skin  is  sometimes  so  far  injured  as  scarcely  to  be 
worth  dressing.  The  following  method  will  be  found  benefi- 
cial. As  soon  as  the  skin  is  taken  off  the  sheep,  spread  it  on  a 
horse  or  cow,  and  in  six  or  eight  hours  the  wool  will  come  off 
better  than  in  any  other  way.  After  the  wool  is  off,  spread 
the  skin  on  a pole,  and  let  it  hang  in  the  shade  (as  the  sun  is 
very  detrimental  to  it)  till  convenient  to  send  it  to  a tanner.— 
This  practice  will  render  sheep  skins  of  four  times  the  value 
the  now  are,  and  save  thousands  of  pounds  to  the  country. 

XII.  To  prevent  worms  injuring  books. 

During  the  months  of  July,  August  and  September,  but  most 
in  August,  there  is  a very  small  insect  that  deposits  its  eggs  in 
books,  especially  on  those  leaves  nearest  the  cover.  These 
gradually  produce  a sort  of  mites,  similar  to  what  are  produ- 
ced in  cheese,  which  afterwards  change  their  state,  and  be 
come  beetles.  When  the  time  of  their  transformation  ap- 
proaches they  eat  their  way  through  till  they  gain  the  extremity 


SECRETS  IN  ARTS,  TRADES,  See. 


mf 


the  book.  To  guard  against  their  attacks,  it  is  recommen- 
ded to  use  mineral  salts,  to  which  most  insects  have  a great 
aversion.  A composite  salt  of  alum  and  vitriol,  are  proper  for 
this  purpose,  a small  quantity  of  which  may  be  used  with  the 
paste  made  use  of  by  book-binders.  It  is  also  advised  that 
book-binders  make  their  paste  of  starch  instead  of  flour.  A 
little  pulverised  alum  should  also  be  strewed  between  the  book 
and  its  cover,  and  also  on  the  shelves  where  books  are  kept. 

XIII.  Another  method , by  paste  made  of  chesnuts. 

For  this  paste  see  Art.xliii.  Chap,  xviii.  on  the  culture  of  the 
chesnut  tree. 

XIV.  A preparation  for  the  hair . 

Take  of  olive  oil  and  spirit  of  rosemary,  equal  parts  ; add  to 
these  a little  oil  of  nutmeg.  Rub  the  hair  every  night  with  a 
little  of  this  liniment,  increasing  the  proportion  gradually,  and 
every  purpose  of  the  most  boasted  preparation  will  be  answered* 

XV.  On  making  hair  powder. 

Hair  powder  is  generally  prepared  from  starch  made  of 
flour,  which,  after  being  thoroughly  dried,  is  ground  and  pass- 
ed through  the  finest  sieves.  If  pure,  it  should  be  perfectly 
white,  and  possess  no  smell.  It  is  frequently  scented  with  the 
essences  of  jessamine,  violets,  roses,  &c. 

XVI.  To  inake  London  Court  Plaster . 

Dissolve  the  best  isinglass  (previously  cut  in  small  pieces)  in 
any  proof  spirit,  so  as  to  obtain  a strong  viscid  solution  ; then 
take  taffety,  or  other  thin  silk,  and  spread  the  liquor  uniformly 
over  it,  with  a soft  brush  ; when  the  first  coat  is  perfectly  dry, 
repeat  the  application  a second  and  third  time,  till  at  length  the 
whole  surface  should  be  sparingly  anointed  with  Peruvian  bal- 
sam. 

XVII.  Chinese  method  of  making  cloth , tfc.  water- 
proof 

Dissolve  white  wax  in  spirits  of  turpentine,  in  the  proportion 
of  one  ounce  of  wax  to  one  quart  of  spirits  of  turpentine.— 
Let  the  cloth  be  dipped  in  this  solution  and  then  be  suspended 
in  the  air  till  it  be  perfectly  dry.  By  this  method,  the  most 

T 


•sio 


SECRETS  IN  ARTS,  TRADES,  &c. 


open  muslin,  as  well  as  the  strongest  cloths,  may  be  rendered 
impenetrable  to  the  heaviest  showers ; nor  wili  such  composi- 
tion fill  up  the  intercices  of  the  finest  lawn,  or  in  the  least  de- 
gree affect  the  most  brilliant  colours. 

XVI II.  To  make  ver digrease. 

'The  best  verdigrease  is  mostly  manufactured  at  Montpelier, 
in  France,  by  forming  alternate  strata  of  copper  plates,  and  the 
husks  of  grapes,  during  their  vinous  fermentation  ; when  they 
speedily  become  acid,  and  corrode  the  copper.  After  the 
plates  have  stood  in  such  situation  for  a sufficient  time,  they 
are  moistened  with  water,  and  exposed  to  the  air,  the  verdi- 
grease being  successively  scraped  off  as  it  collects  on  the  sur- 
face. In  this  state  the  verdigrease,  or  acetite,  is  called  fresh, 
or  moist  verdigrease,  having  the  form  of  paste;  which  after 
triturating  it  in  proper  troughs,  is  put  in  bags  and  dried  in  the 
sun. 

Verdigrease  is  chiefly  consumed  for  striking  a black  colour, 
when  combined  with  a decoction  of  logwood  ; but,  as  it  is  apt 
to  corrode  the  texture  of  the  cloth,  a substitute  has  been  dis- 
covered for  it,  in  dying  black.  Dissolve  separately  equal  parts 
by  weight  of  vitriol  of  copper,  and  potash,  or  other  strong  al- 
kaline salt ; the  solutions  are  then  to  be  gradually  mixed,  and 
if  the  vitriol  be  saturated,  the  water  on  the  surface  will  become 
transparent  on  adding  a few  drops  of  the  alkaline  solution  ; in 
the  contrary  case,  a blue  colour  will  be  produced,  so  that  more 
ashes  should  be  added,  till  a complete  saturation  be  effected. 
These  proportions  of  vitriol  and  alkaline  salt,  will  be  equivalent 
to  a similar  quantity  of  verdigrease,  and  on  being  combined 
with  decoctions  of  logwood,  they  impart  a fine  black  dye, 
which  is  not  injurious  to  the  texture  of  cloth,  Jiats,  or  any  other 
article  that  may  be  tinged  of  such  colour. 

XIX.  To  make  vitriol. 

Vitriol  is  a compound  salt,  formed  by  a combination  of  zinc, 
copper,  or  iron,  with  the  sulphuric,  or  vitriolic  acid;  and 
which  is  either  white,  blue,  or  green  according  to  the  metal 
employed. 

White  vitriol  is  generally  prepared  by  mixing  5 parts  of  sul- 
phuric acid  with  20  parts  of  distilled  water,  and  gradually  ad- 
ding 3 parts  of  zinc  ; when  the  ebullition  ceases,  the  liquor  is 
strained,  and  after  being  evaporated,  it  is  deposited  in  a cool 
place,  where  it  shoots  into  white  christals. 

Green  vitriol  consists  of  sulphuric  acid  diluted  with  ten  or 
twelve  times  its  weight  of  water,  in  which  iron  filings  are  dis- 


211 


SECRETS  IN  ARTS,  TRADES,  &c. 

solved;  when  the  effervescence  ceases,  the  mixture  is  for  some 
time  placed  in  a sand  bath  ; next,  the  liquor  is  strained  through 
paper  ; and,  after  being  evaporated,  it  shoots  into  rhomboidal 
christals,  which  are  also  termed  salt  of  steel. 

Blue  vitriol  is  made  by  stratifying  plates  of  copper  with  sul- 
phur ; and,  on  slow  combustion,  the  sulphuric  acid  corrodes 
the  copper ; the  metal  is  then  boiled  in  water,  till  the  saline 
particles  are  dissolved  ; when  after  repeated  solution,  and  sub- 
sequent evaporation*  the  whole  is  reduced  to  the  christaiizing 
point. 

XX.  To  make  aqua  fortis . 

Distil  equal  parts  of  calcined  vitriol,  and  crude  nitre  ; or 
mix  one  part  of  oil  of  vitriol  with  nine  of  pure  spirit  of  nitre. 

XXL  To  make  German  black . 

Take  of  the  lees  of  wine,  and  ivory,  bone,  or  peach  stones  ; 
let  these  be  burnt  and  afterwards  ground  to  a fine  powder.  The 
lees  of  wine  should  be  washed  previous  to  burning,  and  of  tire 
other  materials,  the  ivory  is  best.  This  black  is  used  princi- 
pally in  rolling-press  or  copperplate  printing. 

XX II.  To  make  ivory  black . 

Ivory  black  is  made  by  burning  ivory  till  it  is  quite  blacky 
this  is  usually  done  between  two  crucibles  well  luted  together. 
It  may  be  used  either  as  an  oil  or  a water  colour. 

XXIII.  To  make  bone  black . 

Bone  black  is  prepared  from  bones  burnt  in  the  same  man*, 
user  as  to  make  ivory  black.  It  is  used  by  painters,  &c. 

XXIV.  To  make  Spanish  black . 

Spanish  black  is  burnt  cork.  Used  also  by  painters. 

XXV.  To  make  lamp  black . 

Lamp  black  is  the  sooty  smoak  of  rosin.  The  first  black 
called  by  this  name  was  produced  from  the  smoak  of  lamps  of 
a certain  construction,  in  which  various  substances  were  burnt. 
The  kind  now  used  is  made  of  rosin,  which  is  first  cut  into 
small  pieces,  melted  and  purified  in  iron  vessels ; it  is  then  set 


SECRETS  IN  ARTS,  TRADES,  &C* 


$12 

&te  to  under  a chimney,  or  suitable  place  made  for  the  pur- 
pose, the  top  of  which  is  lined,  or  covered  with  sheep-skins,  or 
pieces  of  coarse  linen  cloth,  to  receive  the  vapour  or  smoke, 
which  is  the  black. 

XXVI.  To  make  currier’s  black . 

That  kind  called  the  first  black  is  made  with  gall-nuts,  soim 
beer,  and  old  iron.  Th z second  black , or  best  kind,  is  compo- 
sed of  gall-nuts,  copperas,  and  gum-arabic.  This  is  used  prior 
to  giving  the  leather  a gloss. 

XXVII.  A preparation  for  sole  leather . 

Heat  the  leather  by  exposing  the  flesh  side  to  the  fire  ; then 
with  a brush  apply  warm  tar.  Repeat  the  process  of  heating 
the  leather  and  applying  the  tar,  three  or  four  times,  according 
to  the  thickness  of  the  leather,  till  the  tar  has  nearly  penetra- 
ted through  the  skin.  Care  must  be  taken  not  to  make  the 
feather  or  tar  too  hot,  as  that  injures  it  in  the  wearing. 

Various  preparations  of  rosin,  pitch,  turpentine,  tar,  oils,  See . 
are  made  for  the  purpose  of  rendering  leather  waterproof. — 
Some  of  them  answer  equally  well  on  upper  and  on  sole  leather. 

XXVIII.  On  the  manufacturing  of  cloth , particularly 
woollen . 

Of  all  the  manufactures  to  which  the  attention  of  the  Ameri- 
can people  could  be  directed,  there  are  none,  perhaps,  more 
important  than  those  of  the  various  woollen  branches.  The 
limits  to  which  we  have  restricted  ourselves,  in  our  remarks, 
will  not  permit  us  to  give  more  than  the  general  outlines  of  the 
various  processes  used  in  selecting  the  wool,  and  preparing, 
spinning,  weaving,  and  fulling  it. 

The  best  wools  for  manufacturing  are  those  of  England  and 
Spain,  especially  of  Lincolnshire  in  the  former,  and  Sergovia 
in  the  latter  place.  Every  fleece  when  shorn  is  usually  divided 
into  three  kinds,  or  qualities; the  first  or  finest  being  that  from 
the  back  and  sides  of  the  neck  ; the  second,  that  from  the  sides, 
tails  and  legs  ; and  the  third,  that  from  the  breast,  belly  and 
sides.  In  these  divisions,  however,  great  variations  may  be 
made,  as  there  is  considerable  difference  in  the  wool  of  differ- 
ent sheep.  To  make  fine  and  even  cloth,  a division  something 
similar  to  this  must  be  made  in  the  woo),  and  the  finest  only 
be  used  for  superfine  cloths. 

The  wool  being  properly  selected  and  divided,  it  is  to  be 
scoured  in  a hot  liquor  prepared  of  three  parts  of  pure  soft 


SECRETS  IN  ARTS,  TRADES,  &<%  213 

water,  and  one  of  urine,  made  so  hot  as  that  the  hand  can 
hardly  be  borne  in  it,  but  not  to  boil.  If  the  liquor  be  of  this 
proper  medium  heat,  from  eight  to  twelve  minutes  will  be  suf- 
ficient for  to  keep  the  wool  in  it,  provided  it  be  well  stirred 
and  moved  about. 

When  it  has  soaked  a sufficient  time  to  dissolve  the  grease, 
and  perspirable  matter  with  which  it  is  accompanied  when  ta- 
ken from  the  sheep,  it  is  taken  out,  laid  to  drain,  and  then 
washed  in  running  water  ; as  soon  as  it  feels  somewhat  rough, 
and  is  divested  of  all  smell,  except  the  natural  one  of  the  sheep, 
it  is  said  to  be  properly  scoured . It  should  be  observed,  that 
the  washing  in  running  water  should  take  place  before  the  wool 
is  quite  cold  from  the  scouring  liquor,  as  the  impurities  of  the 
wool  more  easily  separate  from  it,  and  it  is  rendered  much  whi- 
ter. To  rinse  it,  wicker  baskets  are  very  convenient : let  them 
be  of  a suitable  size,  and  put  not  more  than  seven  or  eight 
pounds  into  a basket  at  a time  ; the  wool  is  prevented  washing 
away,  and  a little  pains  being  taken,  it  may  be  made  quite 
clean.  After  being  washed,  the  wool  is  to  be  dried  completely 
In  the  shade ; thin  rods  arranged  crosswise,  or  netting,  are 
convenient  to  dry  it  upon  ; they  must  be  under  cover,  and 
where  the  air  draws  through.  When  thoroughly  dried,  which 
should  be  done  with  as  little  delay  as  possible,  and  without  ex- 
posing it  either  to  the  sun  or  to  a fire  ; it  is  to  be  well  beaten 
with  small  sticks.  This  may  be  done  most  conveniently  upon 
cords  stretched  over  a square  frame,  and  crossing  each  other, 
or  put  from  side  to  side,  and  from  end  to  end  of  the  frame, 
similar  to  net  work,  and  so  close  together  as  to  prevent  the 
wool  from  falling  through.  This  cleanses  it  from  the  dust, 
and  grosser  filth,  and  prepares  it  for  that  re-examination,  and 
further  picking  over,  which  is  the  next  thing  to  be  done. 

As  it  is  important  that  the  wool  be  preserved  the  full  length 
for  cloth,  care  must  be  taken,  while  picking  it  over,  that  the 
wool  be  not  broken  and  torn.  All  burrs,  thistles,  coarse  lumps 
and  knotty  locks  are  now  to  be  taken  out,  and  where  not  easily 
separated,  it  is  best  to  cut  them  out  with  a sharp  pair  of  scis- 
sors, taking  care  not  to  waste  the  wool,  which  is  becoming 
more  valuable  by  every  different  operation. 

If  the  picking  has  been  done  with  care  and  attention,  the 
wool  will  now  be  in  a good  state  for  oiling  and  carding.  Of 
the  various  kinds  of  oil,  and  grease,  used  before  carding,  none 
are  so  good  as  common  sweet,  or  olive  oil ; it  leaves  the  wool 
soft,  easy  and  pleasant  to  spin,  better  to  weave,  and  is  not  so 
difficult  to  separate  from  the  stuffs  into  which  the  wool  is  man- 
ufactured. The  proportions  of  oil  used,  varies  from  a fourth 
to  a sixth  part  of  the  weight  of  the  wool  ; that  spun  for  the 
Warp  requiring  the  greatest  quantity,  and  the  warp  is  to  be 
spun  finer,  and  twisted  harder. 

T 2 


214 


SECRETS  IN  ARTS,  TRADES,  Etc. 


When  the  oil  is  thoroughly  mixed  in  with  the  wool  it  is 
ready  for  carding,  which  is  perhaps  one  of  the  nicest  operations 
in  the  whole  process  of  making  cloth.  How  far  the  carding 
machines  now  erected  in  most  parts  of  the  United  States,  are 
calculated  to  perform  this  operation  to  the  degree  of  nicety 
required,  remains  to  be  determined  by  fair  experiments  : per- 
haps for  the  first  breaking  of  it  up,  or  for  carding  wool  of  mix- 
ed colours,  they  may  be  exceedingly  useful;  but  for  carding 
very  fine  white  wool,  intended  for  superfine  cloth,  a very  fine 
pair  of  hand  cards  with  steel  teeth  set  close,  may  be  necessary. 
When  well  carded,  it  will  appear  quite  loose  and  clear,  and  lie 
very  straight  and  even,  no  little  knots  and  lumps  will  appear  in 
it.  In  making  it  into  rolls,  the  same  difference  should  be  made 
in  their  size,  as  is  required  in  the  size  of  thread  for  warp  and 
filling  ; that  is  to  say,  the  rolls  for  to  spin  into  warp  should  be 
one  third  smaller  than  those  for  to  spin  into  filling ; without 
this  attention  it  will  be  almost  impossiple  to  preserve  that  regu- 
lar difference  in  size,  which  is  necessary  between  the  yarn  for 
warp,  and  for  filling. 

It  is  now  supposed  to  be  ready  for  the  spinners,  and  to  pre- 
serve that  necessary  distinction  between  the  yarn  for  warp,  and 
that  for  filling,  the  rolls  should  be  delivered  to  separate  per- 
sons, or  at  least  delivered  out  at  separate  times.  The  necessi- 
ty of  having  the  yarn  for,  warp  spun  fine,  and  well  twisted,  is 
well  known  to  every  weaver ; without  this,  the  motion  of  the 
geers,  and  the  strokes  of  the  reed  will  be  continually  breaking 
it,  and  cause  much  trouble,  as  well  as  produce  inferior  cloth. 
It  should  also  be  observed,  that  in  every  species  of  manufac- 
tures produced  in  the  loom,  where  there  is  the  distinction  of 
warp  and  filling,  whether  these  manufactures  be  of  wool  or 
cotton,  flax  or  hemp,  it  is  the  warp  that  binds  and  holds  the 
whole  together,  and  the  filling  is  what  is  bound  and  held. 

The  process  of  spinning,  even  in  our  present  imperfect  state 
of  domestic  manufactures,  is  too  well  known  to  need  a par- 
ticular description  ; it  may  be  observed,  however,  that  the 
improved  large  or  great  wheel  is  preferred  for  the  spinning  of 
fine  wool,  for  the  purpose  of  manufacturing  into  superfine 
cloths  and  kerseymeres.  It  is  of  the  utmost  importance  that 
the  proper  difference  in  size  between  the  yarn  for  warp,  and 
that  for  filling,  be  observed  ; and  that  the  warp  be  twisted  well, 
to  give  it  the  necessary  strength.  Nor  is  it  of  less  consequence 
that  the  yarn  for  both  be  even,  smooth,  and  regular,  free  from 
all  knots,  lumps,  and  useless  hairs,  or  such  as  are  not  twisted 
in  to  make  a part  of  the  thread.  As  the  requisite  degree  of 
perfection  in  spinning  can  only  be  obtained  by  experience,  fur- 
ther remarks  would  very  little  aid  or  assist. 

It  is  with  some  the  practice  to  reel  the  yarn  into  skeins  ; this 
is  a convenience,  especially  if  the  reel  marks  the  length  of 


BECHETS  IN  ARTS,  TRABES, 


thread,  and  also  the  weight,  from  the  fineness  or  coarseness  of 
it ; by  this  method  it  can  also  be  ascertained,  if  the  yarn  be  of 
an  uniform  thickness,  or  how  much  one  skein  varies  from  an- 
other in  this  respect ; as  the  skeins  being  of  one  length,  should 
be  of  one  weight  for  the  same  piece  of  cloth. 

Preparatory  to  weaving,  the  yarn  for  warp  is  wound  on  large 
bobbins,  or  spools,  as  they  are  called  in  the  United  States,  and 
from  them  warped  into  a web,  or  warp,  of  the  proper  length 
and  width.  This  process  of  warping  and  the  putting  of  the 
warp  on  the  beam,  into  the  geers,  and  through  the  reed,  are  so 
well  known  to  every  weaver,  that  a lengthy  description  of  them 
would  be  quite  unnecessary  here.  It  may  be  observed,  how- 
ever,  that  every  part  of  the  machinery  used,  should  be  as  com- 
plete, and  perfect  as  possible  ; that  the  utmost  attention  should 
be  paid  to  putting  it  into  the  loom  even  and  regular,  especial- 
ly in  winding  it  round  the  warp-beam,  and  that  every  thread 
of  the  warp  should  be  drawn  equally  tight,  that  a part  may 
not  bear  the  whole  strain.  In  England  it  is  the  practice  to 
stiffen  the  warp  with  size  after  it  is  warped,  and  before  putting 
it  into  the  loom  ; in  the  United  States  I believe  it  is  generally 
the  practice  to  perform  this  oper  ation  upon  the  warp  in  the 
loom  ; that  is,  upon  different  portions  of  it,  from  time  to  time* 
as  it  is  wound  off  the  warp-beam,  and  before  it  reaches  the 
geers.  This  method  is  certainly  preferable,  especially  in  dry- 
ing weather,  as  the  size  then  becomes  hard,  before  the  warp  on 
which  it  is  put  reaches  the  reed  where  the  weavers  are  filling 
in  ; it  would  also  be  a still  more  preferable  method,  if  the 
warp-beam  could  be  put  further  from  the  geers  than  it  usually 
is  ; that  is,  the  loom  be  made  longer,  or  the  warp  beam  be 
moveable* 

The  warp  being  properly  fixed  in  the  loom,  the  yarn  spun 
for  woof  or  filling,  is  to  be  put  on  small  tubes,  pieces  of  paper, 
or  some  such  thing,  so  disposed  that  the  may  be  put  into  the 
shuttle.  In  the  United  States  these  tubes  are  made  of  elder 
stalks,  cut  the  proper  length,  and  the  pith  punched  out.  For 
weaving  broadcloth,  two  persons  are  necessary,  one  standing 
each  side  of  the  loom,  and  by  treading  alternately  on  the  right 
and  left  treddle,  the  threads  of  the  warp  are  raised  and  lower- 
ed equally,  and  while  open,  the  shuttle  is  thrown  transversely 
through  it,  from  one  person  to  the  other.  At  each  throw  of 
the  shuttle,  a thread  of  the  woof  or  filling  is  inserted  in  the 
warp,  and  closely  pressed  or  beaten  up  to  the  preceding  thread 
of  filling*  by  a stroke  of  the  reed,  through  which  the  threads  of 
warp  have  been  passed.  It  is  of  importance  that  each  thread 
of  the  filling  be  well  and  evenly  beaten  up  ; well  beaten  to 
make  the  cloth  firm  and  compact,  and  evenly  done,  that  there 
may  be  an  uniformity  through  the  whole  web  or  piece.  As 
soon  as  certain  portions  of  the  warp  is  filled*  say  from  four  to 


216 


SECRETS  IN  ARTS,  TRADES,  kc. 


eight  inches,  more  of  the  warp  is  wound  off  the  warp  beam  , 
and  the  part  that  is  wove,  is  put  on  the  cloth-beam. 

When  the  whole  warp  is  filled,  the  cloth  is  unrolled  from 
the  cloth  beam,  and  cleansed  from  all  knots,  ends  of  thread  6c c. 
&c.  An  opperation  which  is  usually  performed  with  a kind  of 
cutting  nippers  made  for  the  purpose,  care  being  taken  that  no 
injury  be  done  to  the  cloth. 

It  is  now  ready  for  the  fuller,  whose  first  business  is  to  scour 
it  with  urine,  or  potter’s  clay  steeped  in  water.  It  is  then 
to  be  washed  from  the  urine,  or  potter’s  clay,  and  again  exam- 
ined by  the  person  skilful  in  using  the  cutting  nippers,  to  be 
cleared  of  all  such  further  knots,  ends  of  thread  &c.  as  may 
appear,  when  it  is  returned  to  the  fuller  to  be  beaten,  and  ful- 
led in  hot  water,  in  which  a proper  quantity  of  soap  has  been 
dissolved.  After  this  second  fulling,  it  is  to  be  smoothed,  or 
pulled  by  being  suspended  on  tenter  hooks  to  which  it  is  fixed 
by  the  lists,  in  order  to  take  out  all  wrinkles,  and  unevenness. 
This  operation  is  continued  till  the  cloth  is  brought  to  a pro- 
per breadth,  when  it  is  washed  in  clear  water,  to  cleanse  it 
from  the  soap,  and  afterwards  given  wet  to  the  carders  to  raise 
the  hair  or  nap.  The  cloth  worker  then  takes  it  in  hand,  and 
performs  what  is  called  the  first  shearing,  after  which  it  is  a- 
gain  delivered  to  the  carder,  who  repeatedly  cards  it.  It  is  a- 
gain  returned  to  the  cloth  worker,  for  a second  shearing,  and 
from  him  to  the  carder,  where  the  same  operation  is  continued 
till  the  nap  on  the  surface  is  properly  arranged. 

Thus  prepared,  the  cloth  is  sent  to  the  dyer,  (unless  the  wool 
has  been  previously  dyed),  who  after  having  given  it  the  proper 
colour,  immerses  it  in  pure  water,  and  delivers  it  while  wet,  to 
the  worker.  The  latter  lays  the  nap  with  a brush  on  the  ta- 
ble ; and  then  suspends  it  on  tenters,  where  it  is  sufficiently 
stretched  and  brushed  while  wet,  in  order  to  bring  it  to  its  pro- 
per dimensions.  As  soon  as  it  is  completely  dried,  it  is  again 
brushed  on  the  table  to  finish  the  laying  of  the  nap,  after  which 
it  is  folded,  and  laid  cold  under  a press,  to  make  it  smooth,  and 
give  it  a gloss.  When  it  is  taken  out  of  the  press,  and  the  glos- 
sing or  press-papers  removed,  it  is  fit  for  use. 

With  respect  to  the  manufacture  of  mixed  cloths,  or  those 
in  which  the  wool  is  previously  dyed,  the  process  varies  but  ve- 
ry little  from  that  just  described,  nor  is  the  difference  much 
between  manufacturing  broad  and  narrow  cloths.  One  weaver 
only  is  required  to  weave  the  latter,  and  to  weave  Kerseymeres. 
To  make  these  last,  the  very  best  of  wool  is  generally  taken,  it 
is  finer  spun,  and  put  into  the  loom  in  a different  manner,  well 
known  to  weavers.  In  all  other  respects  the  process  is  nearly 
the  same. 

It  does  not  come  within  the  view  of  this  work,  to  speak  of 
those  expensive  and  complicated  machines,  calculated  to  be  put 


SECRETS  IN  ARTS,  TRADES,  &c. 


m 

la  Motion  by  water,  or  the  force  of  steam,  and  adapted  to  the 
Spinning  and  weaving  of  cotton  and  wool;  whenever  these 
may  be  intended  to  be  set  up,  the  most  skilful  and  experienced 
workmen  must  be  employed  in  their  construction  and  manage- 
ment, nor  are  they  by  any  means  adapted  to  that  state  of  house- 
hold and  domestic  manufactures,  which  it  is  our  object  to  pro- 
mote. 

Respecting  the  spinning  and  weaving  of  cotton  and  linen  ve- 
ry few  remarks  can  be  made  that  will  assist  the  domestic  man- 
ufacture. The  process  oTspinning  and  weaving  cotton  is  very 
similar  to  that  of  wool,  except  that  the  oiling  is  omitted.  It 
is,  however,  most  generally  spun  by  the  complicated  machine- 
ry invented  by  Mr.  A.  Arkwright  of  Lancashire,  England,  by 
which  the  cotton  is  carded,  roved,  and  spun,  with  the  utmost 
degree  of  exactness  and  equality.  Linen  is  spun  only  on  the 
small  wheel,  and  by  the  single  thread,  a method  well  known  in 
this  country  ; the  weaving  is  similar  to  that  of  cotton  and  wool ; 
and  respecting  the  culture  of  Flax,  and  preparing  of  it  for  spin- 
ning, we  have  elsewhere  spoken. 

X XIX.  On  the  manufacturing  of  salt  fietre . 

This  is  a salt  which  though  extracted  out  of  the  earth,  is  a - 
bundantly  impregnated  with  the  spirit  of  the  air  ; it  also  cleaves 
to,  and  is  obtained  from  stone  walls,  rocks,  clefts,  and  caverns 
under  ground  That  which  is  extracted  out  of  fat  earth,  is  made 
in  most  countries  in  Europe ; but  the  greatest  quantities  come 
from  the  East  Indies. 

Sait  petre,  or  nitre  is  extensively  diffused  through  the  elements 
of  air  and  water,  and  from  them  conveyed  into  the  earth,  and 
is  frequently  to  be  seen  gradulated  into  fine  white  salt,  sticking 
to  the  side  of  plastered  walls,  it  being  strongly  attracted  by 
lime. 

That  earth  in  which  the  greatest  quantities  of  Salt-Petre  h 
found,  is  a good  rich  mould,  which  must  have  long  been  shel- 
tered from  the  rain,  as  the  rain  disolves  the  Salt,  which  is  also 
exhausted  by  the  sun,  from  such  places  as  is  open  to  its  rays. — 
The  places,  therefore,  where  the  earth  contains  most  of  this 
valuable  article,  is  beneath  stables,  pigeon  houses,  barns,  ware- 
houses, earth  from  the  bottom  of  cellars  &c,  where  the  air  may 
come,  but  from  which  the  sun  and  rain  is  excluded. 

The  process  of  extracting  the  Salt  Petre  from  earth  taken 
from  such  places  is  similar  to  that  used  for  extracting  the 
strength  of  wood  ashes,  to  make  pot  ash.  The  water  is  re- 
quired to  stand  upon  the  earth  in  the  tubs  from  eight  to  ten. 
hours,  and  should  the  first  running  not  be  clear,  pour  it  over 
the  earth,  and  let  it  run  through  again. 

After  drawing  off  the  first  liquor,  which  should  not  be  sdft 


£!8 


SECRETS  IN  ARTS,  TRADES,  &e. 


feredto  run  fast,  but  rather  drip  from  the  tub,  pour  on  com- 
mon water  a second  time,  which  will  extract  what  remains  of 
the  Salt  petre;  this  second  liquor  is  only  useful  to  pour  on  a 
second  quantity  of  fresh  earth,  in  place  of  common  water*  as  it 
contains  some  quantity  of  Salt-petre. 

This  liquor  is  now  to  be  boiled  in  a copper,  set  up  in  brick 
work,  and  generally  requires  about  two  days,  and  one  nights 
boiling.  It  is  known  to  be  boiled  sufficient,  by  flirting  a drop 
on  a live  charcoal,  and  it  will  flash  like  gun  powder,  and  upon 
trial,  one  hundred  weight  of  this  liquor,  contains  about  thirty 
live  pounds  weight  of  Salt-petre. 

Before  its  second  boiling  it  is  to  be  filtered  through  wood 
ashes  put  in  tubs  sifted  somewhat  in  the  manner  in  which 
those  were  for  holding  the  earth  from  which  the  salt-petre  was 
extracted ; only  to  have  it  the  more  clear,  lay  in  the  bottom  of 
the  tubs  straw,  or  rushes,  a foot  in  depth,  over  this  place  loose 
boards  near  to  each  other,  and  over  these  a little  more  straw, 
and  then  fill  your  tubs  to  within  half  a foot  of  the  top  with 
wood  ashes.  Now  pour  your  liquor,  as  it  comes  scalding  hot 
form  the  Copper,  on  one  tub,  and  often  letting  it  stand  a while, 
draw  it  off,  and  pour  it  on  the  other,  thus  continue  pouring  it 
on,  and  drawing  it  ©ff,  untill  it  grows  clear,  and  looses  the 
thick  turbed  colour  it  had  when  it  first  went  on. 

By  the  filtering  of  the  liquor,  all  its  greasy  oil  is  left  in  the 
ashes,  and  it  is  to  be  set  by  for  a second  boiling.  To  bring  a- 
way  what  is  remaining  of  the  liquor  in  the  ashes,  pour  on  com- 
mon water,  very  hot,  once  or  twice  when  you  begin  your  se- 
cond boiling,  put  first  into  the  copper  the  liquor  that  went 
last  through  the  ashes,  and  as  that  wasteth,  let  your  strong 
liquor  drop  into  the  copper,  from  a tub  placed  over  the  cop- 
per, on  the  side  of  the  furnace,  continuing  the  boiling,  till  the 
liquor  in  the  copper,  be  ready  to  shoot  or  chrystalize. 

You  will  observe  when  it  is  near  done  boiiing,  there  will  a- 
rise  a scum  and  froth  on  the  top  which  is  to  be  carefully  taken 
off  with  a brass  scummer,  and  the  salt  which  fails,  or  forms  at 
the  bottom  of  the  copper  is  also  to  be  taken,  and  laid  aside  for 
another  use. 

To  know  when  the  liquor  is  ready  to  shoot  into  petre,  drop 
a little  of  it  on  a knife,  or  any  cold  and  smoth  piece  of  metal, 
it  will  coagulate,  like  a drop  of  tallow,  and  not  fall  from  the 
knife  if  turned  downward.  The  liquor  will  now  contain  about 
seventy  pounds  weight  of  petre  in  every  hundred  weight  — 
The  liquor  is  now  to  be  taken  out  of  the  copper  with  iron  la- 
dles, and  put  into  a deep  or  high  narrow  tub,  and  when  socold 
that  you  can  bear  your  finger  in  it,  you  will  find  the  common 
or  cubic  salt,  begin  to  granulate,  and  stick  to  the  sides  of  the 
tub  ; then  at  a tap,  placed  about  half  a foot  from  the  bottom, 
draw  off  your  liquor  into  deep  wooden  trays,  or  brass  pans 


SECRETS  IN  ARTS,  TRADES,  Scc4 


£19 


which  put  into  some  cool  place  and  let  stand  for  the  salt-petre, 
to  shoot,  which  it  does,  and  of  various  colours,  as  white,  yel- 
low, blackish  &c.  It  is  now  ready  for  refining. 

To'refine  Sait-petre,  dissolve  it  in  about  six  times  its  weight: 
of  boiling  water,  filter,  evaporate,  and  chrystalize  it,  as  you  do 
other  salts. 

The  salt  which  sticketh  at  the  sides  and  bottom  of  the  set- 
tling tub,  is  of  the  nature  of  common  satl,  and  should  be  refi- 
ned by  itself; — it  is  excellent  for  salting  bacon  and  beef. 

When  the  liquor  hath  stood  forty  eight  hours  in  the  pans, 
that  part  of  the  liquor  which  is  not  coagulated,  but  swims  on 
the  petre,  must  be  carefully  poured  off  and  being  mingled  with 
new  liquors  in  the  first  copper,  must  be  passed  through  the 
ashes  before  the  second  boiling,  it  will  then  produce  more  salt 
petre. 

XXX.  On  Dyeing . 

The  following  article  on  dyeing,  is  extracted  from  the  Do* 
mestic  Encyclopedia,  an  invaluable  copy-right  book  published 
by  Messrs.  Birch  & Small,  of  Philadelphia,  by  whose  consent 
we  copy  it. 

This,  as  well  as  many  other  of  the  most  practicable  articles, 
was  written  purposely  for  their  work,  and  makes  the  Domes- 
tic Encyclopedia  a most  important  book  to  artists  and  manu- 
facturers generally. 

Substances  to  be  dyed,  are  silk,  woollen,  cotton,  linen,  and 
skins.  Of  these,  some  have  more  affinity  to  the  colouring 
matter  of  vegetables  than  others,  as  silk  and  woollen  more  than 
cotten  or  linen.  But  this  affinity  is  in  all  cases  encreased  by 
the  intermedium  of  the  earth  of  alum,  or  the  calces  ot  iron  and 
tin.  The  compositions  in  which  these  enter,  when  applied  to 
the  cloth  are  termed  mordants , and  they  serve  as  the  basis  on 
which  the  colours  stick,  and  are  fixed.  Thus,  if  without  pre- 
paration, a piece  of  linsey-woolsey  be  boiled  in  a decoction  of 
madder  or  weld,  the  linen  will  come  out  white,  and  the  woollen 
part  will  be  tinged.  If  part  of  a piece  of  cloth  be  run  through 
a hot  solution  of  alum,  it  will  take  a deeper  and  more  perma- 
nent dye,  than  the  part  not  so  treated. 

The  mordants,  then,  in  common  use  are  alum,  iron  liquor, 
which  is  iron  in  the  acid  ot  vinegar,  and  tin  in  the  nitro- mu- 
riatic acid,  or  aqua  regia.  Alum  is  bought  every  where  ready 
prepared.  Iron  liquor  is  made  by  putting  old  iron  into  beer 
brewed  on  purpose,  or  any  other  mode  of  obtaining  the  acetous 
acid.  It  is  left  to  stand  in  the  cask,  and  repeatedly  drawn  off 
and  poured  in  again  for  six  months.  In  England  it  is  a trade  to 
make  it,  though  till  of  late  years  every  dyer  made  it  for  him- 
self. The  mordant  of  tin  is  made  thus,  to  two  parts  of  aqua- 


-SECRETS  IN  ARTS,  TRADES,  &c. 


42$ 

fortis  add  three  parts  of  spirit  of  salt,  dilute  it  with  an  equal 
bulk  of  water  ; add  small  pieces  of  grain  tin,  till  no  more  will 
dissolve.  Put  in  but  one  small  piece  at  a time.  The  princi- 
ples of  dying  silk  and  woollen  are  much  alike.  Those  who 
would  dye  silk,  may  peruse  to  advantage  Macquer’s  treatise 
on  the  subject,  and  the  art  of  dyeing  wool,  by  Hellot , is  also 
translated  into  English  under  the  title  of  Art  of  Dyeing  The 
work  of  Berthollet  on  dyeing,  is  by  far  the  most  scientific  yet 
produced,  but  none  of  them  are  accurate  as  to  the  actual  pro- 
cess. 

The  mordants  are  always  kept  ready  in  a dye-house  in  a con- 
centrated state,  ready  to  be  diluted  as  occasion  may  require  ; 
the  strength  of  the  colour  until  it  arrives  at  its  maxinsum,  de- 
pending on  the  compound  ratio  of  the  strength  of  the  mordant, 
and  the  quantity  of  the  colouring  drug.  In  the  following  gen- 
eral recipes,  I cannot  give  the  exact  proportions,  because  they 
vary  with  every  shade  of  colour,  and  with  the  quality  of  the 
drugs  ; but  a little  experience  in  the  dye-house  will  teach  the 
method  of  proceeding. 

The  processes  immediately  following,  are  calculated  for 
woollen  or  silk.  It  is  to  be  noted,  that,  in  all  the  colours  dyed 
on  woollen,  where  the  mordant  is  the  earth  of  alum,  the  dyers 
use  white  or  red  argol,  or  the  tartar  of  white  or  red  wine.  This 
is  usually  supposed  to  brighten  the  colour,  by  means  of  the 
acid  contained  in  it  ; but  the  real  effect  is  to  produce  a solu- 
tion of  the  earth  of  alum  in  the  acid  of  tartar  by  double  de- 
composition. The  proportions  used  are,  2 parts  alum,  and  1 
part  tartar,  which  latter  might  be  encreased  with  advantage. 

Scarlet  and  Crimson — Immerse  the  woollen  for  an  hour  in  a 
hot  liquor  composed  of  about  half  a pint  of  the  solution  of  tin 
to  a gallon  of  water;  then  for  another  hour  in  a hot  (not  boil- 
ing) solution  of  cochineal ; repeat  it  till  you  get  your  colour ; 
brighten  it  by  running  it  through  the  tin  liquor  of  half  the  above 
strength.  A slight  alkaline  solution  will  give  it  a crimson  cast. 

Some  dye  it  first  with  alum  liquor  made  with  argol,  in  the 
proportion  of  a quart  to  a gallon,  and  then  in  a bath,  or  de- 
coction of  brazil  wood  to  the  amount  of  one  quarter  of  a pound 
to  each  pound  of  woollen.  Then  use  the  alum  solution,  and 
then  the  cochineal,  and  brighten  finally  with  the  tin  liquor. 

Purple . — Add  to  the  mordant  of  tin,  about  a quarter  of  a 
pint,  or  less,  of  a solution  of  iron  in  common  aquafortis,  and 
proceed  as  above.  This  gives  according  to  the  proportions  of 
the  mordant,  ail  the  shades  of  violet  and  purple.  A false  or 
fugitive  purpie  is  also  made  by  means  of  logwood  with  the  tin 
liquor,  and  a small  proportion  of  vitriol  of  copper. 

Red . — Alum  liquor  with  argol,  as  a mordant,  then  madder 
in  the  proportion  of  half  a pound  of  madder,  and  a quarter  of 
a pound  of  brazil,  or  brazii-ietto  to  the  piece.  Red  wood* 


SECRETS  IN  ARTS,  TRADES,  kc . 


221 


asd  nicaragua-wood  are  bad  substitutes  for  brazil.  A false 
j red  may  also  be  made  by  substituting  log-wood  in  part  for 
j madder. 

Chocolate. — Add  to  the  alum  liquor  with  argol,  about  one 
half  of  the  acetite  of  iron,  and  proceed  as  for  red. 

Pink. — Take  bastard  saffron,  or  the  carthamus  tinctoria, 
usually  called  safflower.  Put  it  in  a bag,  wash  it  well  in  cold 
water,  treading  it,  until  ail  the  yellow  colour  is  extracted,  and 
the  water  no  longer  tinged.  Then  put  it  into  an  alkaline  lye 
made  of  pearl-ash,  in  the  proportion  of  about  half  a pound  to 
the  gallon  of  water  ; this  will  extract  the  pink  colour  from  the 
safflower,  and  give  it  to  the  woollen  or  silk  immersed  in  it.  Old: 
pieces  of  pink  cloth  may  be  immersed  in  an  alkaline  lixivium, 
and  the  colour  extracted  will  dye  afresh. 

Yellow.— Alum  with  argol ; then  for  a fast  yellow,  take 
weld,  or  quercitron  bark  (quercus  tinctoria  of  Michaud.)  For 
a false  yellow,  use  fustic. 

Orange  and  Nankeen. — Dissolve  anotta  in  caustic  alkali,  and 
add  of  this  solution  to  hot  water  according  to  the  tinge  required; 
or,  for  a faster  colour,  take  iron  in  the  nitrous  acid,  as  much  as 
may  be  sufficient  to  produce  the  required  tint,  and  then  run 
the  goods  through  lime-water.  Or,  take  the  alum  liquor  with 
argol,  then  dye  with  a decoction  of  mahogany ; then  run  the 
goods  through  the  tin  liquor,  and  again  through  the  mahoga- 
ny liquor.  The  precipitate  of  plantina  from  aquae  regia  by 
sal-ammoniac  gives  a beautiful  nankeen,  but  too  dear  to  be 
used. 

blue. — The  fast  colours  are  made  by  means  of  the  blue  vat 
with  indigo  ; the  false  colours  by  means  of  the  vat  of  pastel, 
or  woad  ; or  by  means  of  vitrioiated  copper  and  logwood.  The 
blue  vat  is  made  in  different  ways,  by  caustic  alkali,  by  urine, 
or,  by  lime  alone,  and  it  may  be  hot  or  cold.  A vat  with  caus- 
tic alkali  may  be  made  thus  ; to  a pound  of  indigo,  well  wash- 
ed, add  one  and  a half  pounds  of  pearl  ash,  and  two  pounds  of 
lime,  fresh  slacked,  and  about  two  gallons  of  water;  boil  them 
for  two  hours,  then  add  about  twenty  gallons  of  hot  water,  and 
a quarter  of  a pound  of  green  vitriol,  (vitriol  of  iron)  and  as 
much  red  arsenic  ; stir  it  frequently,  when  a green  froth  has 
risen  it  is  ready.  Or, 

Grind  a pound  of  indigo  in  urine,  fresh  or  stale,  add  it  to 
about  forty  gallons  of  urine  ; stir  it  with  a rake  till  the  green 
scum  rises,  and  the  indigo  appears  dissolved. 

The  vat,  with  lime  alone,  is  not  so  good. 

Dip  the  cloth  in  this,  till  the  vat  be  exhausted.  The  at- 
tempts to  dye  with  Prussian  blue,  have  not  succeeded  in  point 
of  expence. 

Saxon  toe.** “Take  indigo  and  grind  it  well,  wash  it  in  hot 
water  till  there  be  no  more  foulness  in  the  water;  to  each 

U 


222 


secrets  in  ARTS,  TRADES,  &c. 


pound  of  indigo  add  a pound  of  oil  of  vitriol,  which  will  no: 
answer  the  purpose,  unless  it  weighs  twenty-nine  and  a*  half 
ounces  to  the  wine  pint.  This  should  be  made  in  a glass  re- 
tort, and  in  a warm  place,  but  not  with  heat. 

Green . — First  dye  a yellow,  and  then  a blue. 

Olive.— Take  equal  parts  of  alum  liquor  and  iron  liquor,  and 
then  dye  with  the  yellow  drugs. 

Black  .—Iron  liquor  with  a small  quantity  of  verdigrease  ; 
then  a dye  liquor  of  about  one  pound  of  the  drugs  to  one  pound 
of  wool  ; the  drugs  being  a mixture  of  madder  one  quarter, 
and  logwood  three  quarters.  The  colour  is  mended,  by  adding 
a small  quantity  of  nitrated  iron  to  the  mordant,  and  a small 
quantity  of  galls  to  the  drugs  ; the  verdigrease  with  the  log- 
wood, gives  a blue  tinge.  Lessen  the  mordant  in  strength,  and 
you  get  all  the  shades  approaching  to  black. 

DYEING  OF  COTTON. 

Drab.— Mordant ; alum  and  copperas,  in  equal  parts  ; drugs 
fustic  and  sumach. 

Olive.— Mordant,  blue  vitriol,  with  copperas,  for  a greenish 
olive;  drugs,  fustic  and  logwood  for  a brown  or  reddish-olive, 
add  sumach. 

Mud. — -Mordant,  alum  and  copperas;  drug,  sumach. 

Bloom. —Mordant,  alum  and  copperas,  or  instead  of  alum, 
tin  in  spirit  of  salt;  drugs,  logwood  and  sumach. 

Purple.— Mordant,  tin  in  spirits  of  salt,  or  aqua  regia;  drugs, 
logwood,  if  not  a blue  purple,  add  braziletto. 

Chocolate  and  Brown. — Vitriolated  iron,  and  fustic,  then  vi- 
triolated  copper  and  logwood  ; or,  if  a bright  chocolate  is 
wanted,  brazil,  and  the  tin  mordant. 

Buffs  and  Nankeens . — Anatta  and  fustic.  Or,  for  a good 
and  tolerable  fast  nankeen,  take  equal  parts  of  alum  and  argol, 
dissolve  them  ; this  will  produce  a tartarite  of  alumine,  and 
sulphite  of  potash.  They  should  be  dissolved  in  as  small  a 
quantity  of  water  as  may  suffice,  say  two  pounds  of  alum  and 
two  pounds  of  argol,  to  one  and  a half  gallons  of  hot  water  ; of 
this  solution,  add  a quart  to  a gallon  of  hot  water  ; immerse 
the  cotton  for  an  hour;  take  it  out,  immerse  it  in  a hot  de- 
coction of  mahogany  shavings,  one  pound  to  each  pound  of 
cotton  ; let  it  simmer  till  the  dye  is  exhausted,  finish  by  run- 
ning it  through  the  tin  mordant,  about  half  a pint  to  the  gal- 
lon of  water  ; then  wash  off. 

Fast  Buffs . — Tinned  iron  plates  dissolved  in  aqua  fortis, 
then  raised  in  lime. 

Yellow.— Alum  liquor,  and  a small  quantity  of  verdigrease, 
with  weld  or  fustic. 

Green-- Blue  vitriol  (vitriolated  copper)  with  fustic  and  log- 
wood, 


SECRETS  IN  ARTS,  TRADES,  Ac.  %23 

{trims on  and  Scarlet. — Tin  in  aqua  regia.  Then  Brazil, 
Braziletto  or  nicaragua  will  not  give  the  required* colour. 

Pink* — -See  the  process  with  safflower,  above  given. 

Turkey  Red . — Boil  the  grey  cotton  for  three  hours  in  pearl- 
ash  and  fish  oil,  about  an  ounce  of  each  to  each  pound  of  cot- 
ton, and  water  enough  to  cover  it ; wash  it,  and  dry  it.  Im- 
merse it  during  ten  days  in  fish  oil.  Squeeze  or  rinse  it  well, 
and  hang  it  up  to  dry.  Run  it  through  a hot  solution  of  alum, 
in  the  proportion  of  alum  one  part,  water  forty  parts  by 
weight.  Then  run  it  through  a mixture  of  cow-dung  and  hot 
water  Again  through  the  alum  liquor.  Then  through  a de- 
fection of  galls,  or  sumach  ; an  ounce  of  galls  to  the  pound  of 
cotton.  Then  through  a dilute  solution  of  glue.  Alum  it 
again  after  washing.  Madder  it  with  half  a pound  of  madder 
to  the  pound  of  cotton.  Alum  it  again,  and  madder  it  again, 
with  from  a quarter  to  a half  pound  of  madder  more  to  the 
pound  of  cotton.  Brighten  it  by  boiling  it  for  half  an  hour  in 
a very  weak  solution  of  white  soap. 

This  colour  may  be  imitated  thus. 

Boil  the  grey  cotton  in  pearl-ash  and  oil  as  above  directed. 
Wash  it  and  dry  it.  Alum  it  as  above,  and  then  fun  it  through 
the  cow-dung  liquor.  Wash  it.  Take  the  common  printer's 
mordant,  of  alum  one  pound,  sugar  of  lead  two  pounds,  water 
one  gallon.  Dissolve.  Add  another  gallon  of  water.  Im- 
merse the  cotton  for  a day  in  this  hot  solution.  Then  madder 
It  with  three  quarters  of  a pound  of  madder*  and  one  ounce  of 
galls  to  the  pound  of  cotton. 

The  above  may  be  relied  on. 

Observations  on  maddering , together  with  a simple  and  certain 

process  for  obtaining  with  great  beauty  andfmiy>  that  colour 

known  under  the  name  of  the  Turkey  or  Adrinople  red . By 

J.  M.  Havssmann. 

I have  already  indicated  in  the  Annales  de  Chimie , and  the 
Journal  de  Fbisique , that  earths  and  metallic  oxides  have  more 
or  less  the  property  of  attracting  and  retaining  the  colouring 
parts  of  vegitable  and  animal  substances  ; aluraine  and  the  ox- 
ide of  iron,  possess  it  in  a greater  degree  than  the  oxide  of  tin  ; 
but  the  attractive  force  of  the  latter,  far  surpasses  that  of  the 
other  earths,  and  metalic  oxides,  in  regard  to  the  colouring 
part 'of  the  said  substances.  Alumine  and  metalic  oxides  do 
not  retain  with  the  same  force  of  adhesion,  the  colouring  parts 
of  all  animal  and  vegitable  substances  indiscriminately  ; that  of 
madder  adheres  much  stronger  than  those  of  the  other  colour- 
ing substances,  which  may  be  classed  in  the  following  order  ; 
kermes,  cochineal,  logwood,  yellow  Indian  wood,  \voa.d,  qutr- 
ettron,  brazil  wood,  red  Indian  wood,  yellow  berries,  &e.  The 


224 


SECRETS  IK  ARTS,  TRADES,  %c. 


gall-nut,  sumach,  and  other  astringent  colouring  substances, 
act  principally  by  means  of  the  gallic  acid  ; and,  in  regard  to 
their  degree  of  fixity,  may  be  placed  immediately  after  mad- 
der ; the  case  is  not  the  same  with  the  prussic  acid,  which 
communicates  a colour  to  different  metalic  oxides,  from  which 
it  can  be  separated  cold  by  alkaline  leys. 

To  judge  of  the  fixity  of  colours  arising  from  animal  and  ve- 
getable substances,  the  best  method  is  to  employ  a ley  of  oxy- 
genated muriate  of  pot-ash,  or  soda,  with  the  excess  of  alkaline 
carbonate.  The  longer  or  shorter  resistance  which  the  colours 
make  in  this  ley,  will  indicate  what  they  will  make,  when  acid, 
alkaline,  saponaceous,  and  other  re  agents  are  employed. 

In  the  art  of  dyeing,  and  that  of  cotton  printing,  the  name  of 
laddering  is  given  to  that  process  by  which  the  colouring 
parts  of  madder  are  transferred,  by  means  of  water  with  the 
acid  of  heat,  to  al amine,  or  to  the  oxide  of  iron  fixed  in  any 
kind  of  stuff. 

The  brightness  and  fixity  of  the  colours  obtained  from  mad- 
dering, depend  not  only  on  the  process,  but  also  on  the  state 
and  purity  of  the  water,  as  well  as  of  the  madder.  It  is  there- 
fore absolutely  necessary  to  avoid,  or  to  render  inactive,  every 
acid,  alkaline,  or  saline  substance,  that  may  be  contained  in  the 
water,  or  in  the  madder  itself.  I have  shewn  that  by  adding  of 
carbonate  of  lime  (pounded  chalk)  madder  which  I suspected 
to  contain  gallic  acid,  was  corrected  ; but,  that  my  friend, 
Charles  Bertholdi,  professor  in  the  central  school  of  the  Upper 
Rhine,  afterwards  found  that  it  was  sulphuric  acid,  united  to 
magnesia. 

The  important  discovery  of  this  addition  of  chalk,  which  I 
made  twenty-five  years  ago,  has  given  birth  to  many  manufac- 
tories, and  improved  all  those  established  near  waters  which  do 
not  run  over,  or  hold  in  solution  this  earthy  salt,  without  which 
it  is  absolutely  impossible  to  obtain  beautiful  and  fixed  mad- 
der colours. 

Thus  chalk,  since  that  time,  has  become  a new  object  of 
commerce  ; and  as  the  price  is  very  moderate,  I have  not  yet 
determined  the  just  proportion  to  be  employed  ; in  general,  I 
take  one  part  for  four,  five  or  six  of  madder. 

In  order  to  obtain  the  brightest  madder  colours,  it  is  not  only 
..requisite  to  attend  to  the  quality  of  the  water  and  of  the  mad- 
der, it  is  necessary  also,  to  observe  the  degree  of  the  heat  of 
the  bath  \ a low  temperature  will  check  the  attraction  of  the 
colouring  parts,  and  prevent  them  from  being  extracted,  while 
©ne  too  high  will  favour  the  adhesion  of  the  yellow  particles  of 
the  madder,  which  obscure  and  tarnish  the  shades  intended  to 
be  produced.  The  only  colour  which  gains  by  increasing  the 
heat  is  black.  I have  always  observed  that  on  withdrawing  the 
Ire  from  below  the  boilers,  when  the  hand  can  no  longer  be 


SECRETS  IN  ARTS,  TRADES*  Sec , 


Meld  in  the  aqueous  vehicle  which  they  contain,  if  the  lad- 
dering be  then  continued  for  two  or  three  hours,  the  most 
satisfactory  results  will  be  obtained,  as  the  furnace  still  retains 
a sufficient  quantity  of  heat  to  maintain  the  vehicle  at  the  same 
temperature,  especially  when,  according  to  custom,  large  boil- 
ers are  employed.  Besides  it  would  be  very  difficult  to  fix  a 
determinate  degree  of  heat  by  the  thermometer,  when  the  fur- 
naces are  large. 

The  yellow  parts  of  the  madder,  as  well  as  of  other  colour- 
ing substances,  are,  it  is  probable,  nothing  else  than  the  colour- 
ing parts  themselves,  combined  with  oxygen.  The  product 
of  this  combination,  by  acquiring  solubility,  suffers  itself  with 
more  difficulty  to  be  taken  away  by  clearing,  if  the  heat  has 
not  been  properly  regulated  during  the  process  of  dyeing.  I 
have  often  observed,  that  madder  and  other  colouring  substan- 
ces, when  long  exposed  to  the  atmospheric  air,  do  not  give  co- 
lours of  the  same  intensity,  and  the  same  brightness  as  before, 
cither  because  these  substances  absorb  the  oxygen  of  the  at- 
mosphere, or  that  they  procure  this  radical  from  the  water 
which  they  attract,  or  which  they  naturally  contain  as  a con- 
stituent principle,  and  which  is  decomposed  by  a slow  and  in- 
sensible fermentation.  The  exposure,  on  the  grass,  of  cotton 
or  linen  dyed  a dark  madder  red,  might  support  the  idea  of  a 
change  to  a redish  yellow  ; for  this  dark  colour  becomes  clear- 
er, but  fainter,  by  the  exposure  on  the  grass,  and  then  assumes 
a more  agreeable  shade  of  crimson.  I have  shewn  in  a Memoir 
on  indigo,  inserted  in  the  Journal  de  Physique , for  the  year 
1788,  that  nitric  acid  changes  this  blue  fecula  into  a yellowish 
substance  ; a similar  change  takes  place  by  exposing,  on  the 
meadow,  the  same  fecula  fixed  on  any  stuff  whatever,  and  the 
yellow  resulting  in  these  two  ways  is  more  soluble  in  warm 
water,  than  in  the  same  liquid  when  cold.  It  however  appears, 
that  the  combination  of  oxygen  is  not  the  only  cause  of  the 
change  of  colours,  since  curtains  of  any  stuff  dyed  or  coloured 
anv  shade  whatever,  by  vegitable  or  animal  substances,  and 
exposed  to  the  light,  loose  their  colour  entirely  in  the  course 
of  time  on  the  side  exposed  to  the  solar  rays,  while  the  oppo- 
site side  retains  it  for  a considerable  time.  If  the  rays  of  the 
sun  then  give  more  vigour  to  living  bodies  of  the  animal  and 
vegitable  kingdom,  by  disengaging  from  them  the  oxygen  gaz, 
it  appears  that  they  act  with  destructive  influence  on  the  same 
bodies  deprived  of  life,  by  decomposing  their  constituent 
principles.  In  all  cases  it  will  be  proper  to  preserve  the  co- 
louring substances  in  dry  places,  sheltered  from  the  light  which 
acts  upon  these  bodievS,  perhaps,  only  by  decomposing  the 
constituent  aqueous  part,  the  oxygen  of  which  may  join  the 
carbon  to  form  carbonic  acid  ; resinous  and  oily  substances 
should  be  preserve!  in  the  same  way.  These  conjectures  prove 

U 2 


22$ 


8BCRBT9  IN  ARTS,  TRADES,  &c. 


at  least,  that  the  action  of  the  sun’s  rays,  or  of  light  on  these 
bodies  in  general,  presents  a vast  field  for  interesting  experi- 
ments to  be  undertaken. 

If  in  maddering  brighter  colours  are  obtained,  by  carefully 
regulating  the  heat,  a sacrifice  is  made  at  the  same  time  of  a 
small  portion  of  the  colouring  parts  of  the  madder,  which  can- 
not be  entirely  exhausted,  except  by  then  increasing  the  beat 
to  ebulition  ; but,  as  the  colours  thus  obtained,  are  degraded, 
more  or  less  in  the  ratio  of  the  quantity  of  the  madder,  the  gall- 
nut,  or  sumach  used;  this  method  must  be  employed  with 
caution,  and  principally  for  common  effects,  either  in  regard  to 
cotton  or  linen.  To  avoid  as  much  as  possible  the  loss  of  mad- 
der, after  the  maddering  of  good  articles  has  been  terminated 
and  before  the  common  ones  are  put  into  the  boiler,  powder- 
ed gall-nut  or  sumach,  must  be  added,  with  a new,  but  small 
portion  of  madder.  The  process  must  be  managed  also  in 
such  a manner  that  the  ebulition  shall  not  take  place,  till  two 
hours  after. 

I several  times  tried  to  exhaust  the  madder  by  simple  ebuli* 
lion,  and  without  adding  any  thing  else  than  chalk  ; but  I found 
that  this  was  unfavorable  to  all  colours,  black  excepted  ; it 
even  appeared  that  the  effect  of  the  madder  was  much  less, 
than  when  the  heat  was  moderately  applied,  and  when  the  ac- 
cumulated caloric  easily  decomposed  the  colouring  substance. 
It  is  this  tendency  to  be  decomposed,  and  particularly  by  fer- 
mentation, however  it  may  be  moistened  or  diluted  with  wa- 
ter, which  has  hitherto  prevented  me  from  obtaining  a substan- 
tial colour,  pretty  dark,  and  sufficiently  fixed  to  be  applied  to 
any  kind  of  stuff.  I observed  also,  that  if  the  heat  was  carried 
too  far  the  first  time,  in  circumstances,  when  it  was  proposed 
to  madder  a second  and  third  time,  it  prevented  me  not  only 
from  obtaining  bright  and  agreeable  shades,  but  also  of  the  re- 
quisite entensity.  The  aqueous  vehicle  of  the  madder,  at  too 
high  a temperature,  never  fails  to  weaken  the  adhesive  force  of 
the  alumine  and  the  oxide  of  iron,  and  to  take  from  it  a por- 
tion, which  an  experienced  eye  may  easily  remark  on  examining 
the  bath. 

I shall  here  repeat,  that  for  common  and  low  priced  articles, 
it  is  indispensihly  necessary  to  employ  gall-nuts  or  sumach, 
which  will  save  one  half,  and  even  two  thirds  of  the  madder  ; 
but  the  colours  obtained,  are  neither  so  fixed,  nor  so  bright. 
The  addition  of  chalk,  however,  must  not  be  omitted;  other- 
wise, the  gallic  acid  will  carry  away  a portion  of  the  alumine 
and  coloured  oxide  of  iron,  which  will  weaken  the  shades,  and 
by  tarnishing  the  stuffs,  will  also  attack  the  white  which  may 
have  been  preserved  in  them.  Without  the  addition  of  gall- 
nuts  or  sumach,  it  seemed  to  me  impossible  to  exhaust  the 
madder  entirely  of  its  colouring  parts,  which  made  me  presume 


SECRETS  m ARTS,  TRADES,  &c. 


that  their  adhesion  is  favoured  by  the  viscid  nature  of  the  tan- 
ning principle  of  these  astringent  substances,  which  carry  away 
and  combine  with  themselves  the  colouring  parts.  I shall,  al» 
so,  observe,  that  gall-nuts,  as  well  as  sumach,  loose  the  prop- 
erty of  dying  black  ; and  acquire,  on  the  other  hand,  that  of 
dyeing  or  colouring  alumine-yeilow,  oxide  of  iron,  olive-green 
by  the  addition  of  chalk,  the  calcareous  base  of  which  unites 
itself  to  the  galic  acid.  Do  these  yellow  and  olive-green  co- 
lours arise  from  any  peculiar  substance  contained  in  the  gall- 
nuts  and  sumach,  or  are  they  indebted  for  their  origin  to  the 
tanning  principles  ? This  remains  to  be  examined. 

The  quantity  of  madder  to  be  employed  in  dying,  ought  not 
only  to  be  proportioned  to  the  extent  of  the  surfaces  to  be 
maddered,  but  also  to  the  concentration  of  the  acetite  of  alu- 
mine  and  iron,  improperly  called  mordants  ; that  is  to  say,  to 
the  greater  or  less  quantity  of  alumine  and  oxide  of  iron, 
which  these  saline  liquors,  either  insulated  or  mixed  together, 
when  they  dry  on  the  articles  to  be  dyed,  may  have  left  or  de- 
posited there  by  the  evaporation  of  the  acetic  acid.  If  the  ob- 
jects to  be  dyed  are  not  numerous,  and  in  particular  when  bright 
shades  only  are  to  be  produced,  they  may  be  maddered  only 
once  ; but  when  they  are  numerous,  and  intended  to  have  dark: 
shades,  the  maddening  must  be  repeated  twice,  and  even  thrice. 
Three  quarters  of  a pound  of  madder  of  a good  quality,  is 
sufficient  for  dyeing  a piece  of  white  Indian  cloth,  of  ten  ells 
in  length,  and  three  quarters  broad,  intended  to  exhibit  only  a 
few  coloured  objects;  the  quantity  of  the  colouring  substance 
must  be  increased  in  the  ratio  of  the  mass  of  alumine  and  oxide 
©firon,  fixed  on  a piece  of  stuff  of  the  above  dimensions.  It 
may  be  extended  to  six,  eight,  ten,  and  even  twelve  pounds  for 
a ground  covered  with  a lively  and  very  intense  colour.  Intel- 
ligence and  practice  in  the  management  of  a dye  house  will 
not  fail  to  indicate  nearly  the  proper  proportions. 

Whatever  care  may  be  employed  in  maddering,  to  avoid  the 
adhesion  of  the  yellow  parts,  the  colours  obtained  will  be  far 
from  having  all  the  beauty  and  fixity  which  they  might  acquire 
by  clearing  preceded  by  very  large  ebulition  in  exceeding  pure 
water.  This  ebulition  alone,  by  the  addition  of  bran,  will 
serve  to  brighten  the  colour  ; more  rosy  reds  will  be  obtained, 
by  employing  soap  with  or  without  the  addition  of  bran;  car- 
bonate of  pot-ash,  or  of  soda,  substituted  for  bran,  will  make 
the  reds  incline  to  crimson  ; but  I must  observe,  that  unless 
the  workmen  choose  to  run  the  risk  of  making  the  reds  entirely 
brown,  and  in  such  a manner  that  it  will  not  be  possible  to  re- 
store them,  it  will  be  necessary  before  soap  and  alkalies  are 
applied  to  the  stuffs,  to  expose  them  to  the  action  of  the 
strongest  heat  that  can  be  comm u pleated  to  water. 


SECRETS  m ARTS,  TRAMS,  &c. 


Z28 

This  operation  will  be  attended  with  success,  if  as  little  pas- 
sage  as  possible  be  afforded  to  the  steam,  and  if  the  boilers  em- 
ployed be  converted  into  a sort  of  digesters.  The  fixity  of  the 
colours  will  be  proportioned  to  the  time  employed  in  expo- 
sing them  to  the  action  of  the  boiling  water.  It  is  needless  to 
observe,  that  there  is  no  danger  of  spoiling  the  colours  by  soap 
and  alkaline  carbonates,  when  the  maddering,  instead  of  being 
directed  with  a moderate  heat,  has  been  carried  to  ebullition, 
as  is  practised  in  dye-houses;  but,  in  this  case  the  colours  ob- 
tained are  more  difficult  to  be  cleared. 

As  water  charged  with  oxyginated  muriatic  acid,  easily  car- 
ries away  the  colouring  parts  of  madder,  as  well  as  other  vege- 
table and  animal  substances,  by  decomposing  them  ; and,  as 
acids  more  concentrated  may,  in  their  turn,  take  from  the 
stuffs,  the  colourless  alummeand  the  oxide  of  iron  ; it  is  im- 
possible for  me  to  adopt  the  idea  of  a chemical  combination  of 
the  colouring  parts  with  alumine  and  metalic  oxides,  which,  in 
my  opinion,  when  fixed  and  coloured  on  any  stuff,  form  only 
Gompound  aggregates. 

The  clearing  of  objects  printed  on  a white  ground,  requires 
modifications,  which  I shall  detail  on  a future  occasion.  It 
will  therefore  be  sufficient  at  present  to  state,  that  after  con- 
tinuing for  some  time  my  experiments  on  the  Turkey  red,  in- 
serted in  the  Annales  de  Chimie , for  the  year  1792,  I at  last 
found  a red  much  more  beautiful  and  durable,  than  the  Le- 
vant, by  fixing  alumine  on  cotton,  thread  and  linen,  by  an  al- 
kaline solution  of  this  earth  mixed  with  linseed  oil.  The  fol- 
lowing is  the  process  I employed. 

THE  PROCESS. 

After  making  a caustic  ley,  of  one  part  of  good  commoa 
pot-ash,  disol ved  in  four  parts  of  boiling  water,  and  half  a part 
©f  quick  lime,  which  I afterwards  slacked  in  it,  I disolved  one 
part  of  powdered  alum  in  two  parts  of  boiling  water ; and 
while  this  solution  of  sulphate  of  alumine  was  still  warm,  to  a- 
void  re-chrystilization,  I speedily  poured  into  it  successively, 
always  stirring  it  without  interruption,  the  above  mentioned 
caustic  ley,  till  the  alumine  it  had  at  first  preceipitated  after 
saturation  to  excess  with  sulpheric  acid,  had  been  re-dissolved. 

I left  at  rest  this  solution  of  alumine,  which  exhaled  ammonia^ 
and  which  on  cooling,  formed  a precipitate  of  sulphiate  of  pot- 
ash in  very  small  chryetals,  I then  mixed  a thirty-third  part  of 
linseed  oil,  with  which  the  alkaline  solution  of  alumine  formed 
a kind  of  milky  liquid.  As  the  oil  gradually  separates  itself 
from  this  mixture,  by  standing,  and  assumes  the  appearance  of 
cream,  it  must  not  be  employed  till  it  is  again  shaken.  The 
skeins  of  cotton,  or  linen  ought  to  be  successively  immersed 


SECRETS  IN  ARTS,  TRxlBES,  &c. 


In  it,  and  equally  pressed,  that  they  may  be  then  exposed  to 
dry  on  a pole,  in  the  order  in  which  they  have  been  taken  from 
the  mixture.  They  must  be  dried  under  shelter  from  rain  in 
summer,  and  in  a warm  place  in  winter,  and  be  left  in  that 
state  for  twenty* four  hours  : they  must  then  be  washed  in  very 
pure  running  water,  and  be  again  dryed:  after  which  they  are 
to  be  immersed  in  an  alkaline  ley,  pressed  and  dryed  a second 
time  in  the  same  manner  as  the  first,  taking  care,  however,  to 
re-commence  the  immersion  in  the  ley  with  those  skeins  which 
have  been  last  in  the  oily  mixture,  because  the  first  never  fail  to 
carry  away  a larger  portion  than  the  last  ; it  will  be  proper, 
also,  to  consume  the  mixture  each  time,  that  it  may  not  have 
leisure  to  attract  the  carbonic  acid,  with  which  the  lower  re- 
gion of  the  atmosphere  is  always  charged,  especially  in  manu- 
factories ; for  the  alkali,  by  passing  to  the  state  of  carbonate, 
suffers  the  alumine  to  be  precipitated,  and  looses  the  property 
of  mixing  with  the  oil. 

Two  immersions  in  the  alkaline  solution  of  alumine,  mixed 
with  linseed  oil,  will  be  sufficient  to  obtain  a beautiful  red,  but 
by  continuing  to  impregnate  the  skeins  a third,  and  even  a 
fourth  time,  with  the  same  circumstances  as  the  first,  colours 
exceedingly  brilliant  will  be  produced. 

The  intensity  of  the  red,  proposed  to  be  obtained,  will  be  in 
proportion  to  the  quantity  of  the  madder  employed.  By  ta- 
king a quantity  of  madder  equal  in  weight  to  that  of  the  skeins, 
the  result  will  be  a red,  which  by  clearing,  will  be  changed  to 
a rosy  shade  ; on  the  other  hand,  shades  of  crimson,  more  or 
less  bright,  will  be  obtained  by  employing  two,  three,  and  e- 
ven  four  times  the  weight  of  madder,  without  even  forget  mg 
the  addition  of  chalk,  if  the  water  employed  does  not  contain 
some  of  it.  However,  four  parts  of  this  colouring  substance 
would  be  too  dear  to  be  employed  in  commerce,  as  it  would 
not  find  purchasers,  though  the  red  produced,  would  be  in- 
tense and  beautiful. 

By  making  an  oily  alkaline  solution  of  alumine,  with  two  or 
three  parts  of  water  and  impregnating  the  skeins  twice,  and 
even  four  times,  in  the  manner  above  mentioned,  bright  shades 
will  be  produced  without  the  use  of  much  madder  ; but  they 
■will  not  have  the  same  intensity,  as  those  procured  with 
even  as  little  madder  by  means  of  the  same  solution  concen- 
trated 

The  best  method  of  obtaining  shades,  lively  as  well  as  bright 
is,  to  expose  the  dark  reds  for  a considerable  time,  when  they 
have  been  cleared,  to  the  action  of  a ley  of  oxiginated  muriate 
of  pot  ash,  or  of  soda,  with  excess  of  alkaline  carbonate,  in  or- 
der to  have  such  a degree  of  shade  as  may  be  required  : but  it 
may  readily  be  conceived  that  this  method  would  be  expen- 
she. 


33'J  SECRETS  IN  ARTS,  TRADES,  See, 

To  have  the  oily  alkaline  solution* of  alum,  nearly  in  the 
same  state  of  concentration,  it  will  be  necessary  to  employ  an 
hydrometer,  to  determine  the  degree  of  strength  of  the  caus- 
tic  ley,  before  it  is  employed  for  the  solution  of  the  aiumine. 

This  caustic  ley  must  be  made  with  the  best  common  pot- 
ash that  can  be  procured,  and  the  degree  it  gives  by  the  hydro- 
meter must  be  noted,  in  order  that  if  pot-ash  of  an  inferior 
quality  be  afterwards  employed,  the  ley  obtained  may  be  car- 
ried to  the  fixed  degree  of  evaporation. 

C autre  ley,  made  with  four  parts  of  good  common  pot  ash, 
cannot  contain  a large  quantity  of  foreign  salts.  By  making  it 
on  a large  scale,  when  the  limpid  part  has  been  decanted,  it 
will  be  necessary  to  shake  the  deposit,  for  some  time,  twice 
every  day,  that  the  rest  of  the  alkaline  liquor  may  be  decanted, 
and  that  none  of  what  still  remains  in  the  deposit  may  be  lost, 
it  ought  to  be  diluted  with  more  water,  which  may  be  after- 
wards employed  to  lixivate  the  cotton,  which  must  be  well 
purified  and  cleansed  before  it  is  dyed;  which  may  be  done 
by  lixiviating  and  soaping,  or  merely  boiling  it  in  water,  and 
then  rinsing  and  drying  it.  As  wringing  with  the  hands  may 
derange  the  filaments  of  the  skeins  of  cotton  and  linen,  and 
consequently  weaken  the  thread  it  will  be  proper,  in  op- 
Iterating  on  a large  scale,  to  squeeze  them  by  means  of  a 
press. 

In  regard  to  thread  or  linen,  to  be  dyed  of  a beautiful  dark 
and  fixed  red,  it  must  be  well  bleached  and  impregnated,  at 
least  four  times  successively,  with  the  oily  alkaline  solution  ; 
because,  not  only  aiumine,  and  metallic  oxides  adhere  with 
more  difficulty,  .to  linen  than  to  cotton,  but  because  these 
minerals  substances,  when  coloured,  abandon  linen  much  ea- 
sier than  cotton,  when  cleared.  It  still  remains  to  be  exami- 
ned whether,  between  each  impregnation  with  the  oily  alka- 
line solution  of  aiumine,  cotton  or  linen  thread  requires  to  be 
left  at  rest  for  a greater  or  shorter  time,  before  it  is  rinsed  and 
dried. 

All  fat  oils  may  be  employed  in  the  mixture,  with  proper 
precautions ; but  linseed  oil  mixes  better,  and  remains  longer 
suspended  in  the  alkaline  solution  of  aiumine  : I never  tried 
fish-oil,  which  perhaps  would  be  preferable.  It  is  probable 
also,  that  in  opperating  on  a large  scale,  it  would  be  best  to 
deminish  the  quantity  of  linseed-oil,  in  the  mixtures  with  the 
alkaline  solution  of  aiumine ; for  I have  had  reason  often  to 
observe,  that  too  much  oil  hurts  the  attraction  of  the  colour- 
ing parts  of  the  madder  ; a thirty-third  part  of  linseed  oil, 
always  produced  the  best  effect  in  my  trials  on  a small  scale. 

In  regard  to  the  process  of  dyeing  cotton  and  linnen  thread, 
sufficiently  charged  with  aiumine,  by  the  oily  alkaline  solution 
of  that  earth!  the  skeins  must  be  disengaged  from  every  saline 


SECRETS  IN  ARTS,  TRADES,  Ac.- 


%3l 


substance,  as  well  as  from  the  superfluous  oil,  by  rinsing  them 
a longtime  in  very  pure  running  water;  after  which  they  must 
be  arranged  without  drying  them,  on  an  apparatus  which  the 
operator  may  construct,  according  to  the  form  of  the  boiler,  in 
which  it  is  to  be  placed,  in  such  a manner,  that,  during  the 
process  of  dyeing,  the  skeins  may  be  continually  shaken  and 
turned  ; in  order  to  catch  every  where,  and  in  an  uniform 
manner,  the  colouring  particles.  The  bath  must  be  composed 
with  madder,  mixed  with  a sixth  of  pounded  chalk,  and  di- 
luted with  about  thirty  or  forty  quarts  of  water.  The  heat 
must  be  carried  only  to  such  a degree  that  the  hand  can  be 
held  in  the  bath  for  an  hour  without  being  scalded;  and  it  is 
to  be  maintained  to  this  degree,  for  two  hours,  either  by  di- 
minishing or  encreasing  the  fuel.  Three  hours  dyeing  will  be 
sufficient  to  exhaust  the  madder  : the  skeins  when  taken  from 
the  bath  must  be  washed  in  a large  quantity  of  water  to  cleanse 
them  ; they  are  then  to  be  cleared  by  boiling  them  a pretty 
long  time,  in  water  containing  bran,  inclosed  in  a bag,  adding 
soap,  and  alkaline  carbonate,  to  give  the  red  a rosy  or  carmine 
shade. 

As  I never  had  occasion  to  dye  cotton  or  linen  thread  on 
a large  scale,  I employed  a small  boiler,  which  served  me  at  the 
same  time,  for  the  process  of  clearing;  in  the  latter  operation 
I confined  myself  to  boiling  the  skeins,  properly  arranged,  in 
water  containing  a bag  filled  with  bran,  for  eight  hours  suc- 
cessively, and,  that  I might  not  interrupt  the  ebullition,  I re- 
placed the  evaporated  part,  by  the  addition  of  more  boiling 
water.  In  this  clearing,  I employed  neither  soap  nor  alkali ; 
yet  I obtained  a red  superior  in  beauty  and  fixity  to  that  of  the 
Levant,  and  which,  in  every  respect,  will  bear  a comparison 
with  the  colours  dyed  in  France.  For  dyeing  my  red,  I em- 
ployed three  parts  of  the  best  madder,  for  one  part  in  weight 
of  dry  cotton  thread. 

With  the  precaution  I took  to  obtain  an  uniform  shade,  I 
could  have  dyed  at  one  time,  but  I should  always  recommend 
performing  this  operation  at  two  different  times,  taking  at 
each  time  half  a portion  of  madder,  and  chalk,  if  the  skeins 
cannot  be  continually  turned  in  the  boiler ; it  may  also  serve 
for  clearing,  by  adapting  to  it  a cover,  so  as  to  suffer  very  lit- 
tle of  the  vapors  to  escape,  for  it  would  be  too  expensive  to 
replace  the  part  evaporated  by  more  boiling  water. 

By  operating  on  a large  scale,  and  concentrating  the  heat 
In  the  boilers,  keeping  them  almost  dose,  there,  perhaps,  would 
be  no  need  of  employing  eight  hours  ebullition,  to  clear  and 
fix  the  colour.  I have  every  reason  to  believe,  that  this  clear- 
ing the  Turkey  red,  gave  rise  to  the  idea  of  bleaching  with 
steam  ; it  must  have  been  seen  that  colours,  by  being  cleared, 
lose  considerably  in  regard  to  their  intensity ; and  perhaps  it 


232 


SECRETS  IN'  ARTS,  TRADES,  &c. 


has  been  observed  at  the  same  time,  that  the  pack  threads  em- 
ployed for  arranging  the  skeins,  were  bleached  during  the  clea- 
ring, especially  when  alkalies  were  added. 

A great  variety  of  colours,  and  of  different  shades,  may  be 
obtained,  by  following  the  process  here  described  for  obtaining 
beautiful  and  durable  reds.  In  this  case  the  oily  alkaline  solu- 
tion of  alumine  must  not  be  employed,  till  the  required  shade 
of  oxide  of  iron,  or  the  indigo  blue,  has  been  given  ; but,  what- 
ever may  be  the  colour,  or  shade,  which  you  wish  to  give,  be- 
fore you  fix  the  alumine  on  the  skeins  of  cotton  or  linen,  these 
skeins  must  always  be  first  well  boiled,  by  which  means  the  ad- 
hesion of  the  indigo  fecula,  as  well  as  that  of  the  oxide  of  iron, 
will  be  encreased  in  the  same  manner  as  that  of  alumine,  co- 
loured by  the  colouring  parts  of  madder,  when  subjected  to 
the  action  of  the  heat  of  boiling  water  before  they  are  impreg- 
nated with  the  oily  alkaline  solution  of  alumine.  As  the  me- 
thod of  dyeing  indigo  blue  in  all  its  shades,  is  well  known,  it  is 
needless  to  detail  it ; and  as  to  giving  a rusty  yellow  colour, 
which  may  be  done  at  a little  expence,  nothing  is  necessary  but 
to  moisten  the  skains  well  with  the  solution  of  sulphate  of  iron, 
to  press  them  equally,  and  then  to  immerse  them  in  a caustic 
ley  of  pot-ash,  which  will  precipitate  and  fix  the  oxide  of  iron 
of  a disagreeable  colour,  but  which  will  not  fail  to  assume  a 
rusty  yellow  shade,  by  attracting  and  becoming  saturated  with 
the  oxygen  of  the  atmosphere  5 thus  yellow  will  become  more 
or  less  dark  according  to  the  quantity  of  sulphate  of  iron  in 
solution.  More  intensity,  and  even  more  equality  may  be  gi- 
ven to  the  rusty  yellow,  by  moistening  the  skeins  a second 
time  in  the  feruginous  solution,  and  immersing  them  in  the 
caustic  ley.  Care,  however,  must  be  taken  not  to  use  soda  for 
this  operation,  because  it  generally  contains  sulpher,  which 
blackens  oxide  of  iron  by  mineraizing  it. 

The  skeins  coloured  blue  and  rusty  yellow,  treated  with  oil- 
Iy  alkaline  solution  of  alumine,  will  produce,  by  maddering, 
dark  purple  and  chamois  colours,  violet,  lilac,  pruce,  mordore, 
See.  It  may  be  easily  conceived,  that  if,  instead  of  maddering, 
the  same  skeins  prepared  for  maddering,  be  dyed  with  kermes, 
cochineal,  and  Brazilwood,  log  wood,  wood  of  St.  Martha, 
woad,  yellow- wood,  quircitron,  yellow  berries,  &c.  a great 
variety  of  colours  will  be  obtained  ; the  shades  may  even  be 
varied  ad  infinitum , by  mixing  the  colouring  ingredients  with 
each  other  in  different  proportions.  The  affinity  of  adhesion 
of  the  colouring  parts  of  all  these  ingredients,  varies  also,  to 
such  a degree,  that  the  shades  arising  from  a yellow  or  olive 
green  will  be  changed,  or  totally  metamorphosed,  by  a second 
dyeing  with  madder,  kermes,  cochineal,  or  Brazil  wood  ; and 
will  furnish  orange  shades,  capucine,  camelite,  burnt  bread, 
bronze,  &c.  As  the  preliminary  preparation  of  the  skeins  by 


S.ECRETS  IK  ARTS,  TRADES,  6cc; 


the  oily  alkaline  solution  of  alumine,  might  be  too  expensive  _ 
for'someof  these  colours,  the  following  process  may  be  sub- 
stituted in  its  stead.  This  process  consists  in  treating  the 
skeins,  alternately,  with  soap  and  sulphate  of  alumine,  the  ex- 
cess of  the  acid  of  which,  has  been  saturated  with  one  of  the 
alkaline  carbonates, or  with  lime;  thismethod  is  very  expeditious. 
In  the  course  of  a day,  especially  in  summer,  the  skeins  maybe 
prepared  and  dyed  red  as  well  as  other  colours ; which,  for  ' 
the  most  part,  may  be  subjected  to  ebullition,  and  will  bear 
clearing  with  bran  fora  quarter  or  half  an  hour,  and  even  some 
of  them  for  a whole  hour.  It  is  also  to  be  observed,  that  there 
are  none  but  madder  colours,  the  calumine,  and  oxide  of  iron, 
bases  of  which  have  been  fixed  on  the  stuffs,  by  means  of  the 
oily  alkaline  solution,  that  can  acquire  perfect  fixity  by  the  ac- 
tion of  heat  of  boiling  water  ; and  that  the  fixity  is  very  infe- 
rior in  all  madder  colours,  the  earthly  and  feruginous  bases 
of  which,  have  been  applied  to  stuffs  by  means  of  acid  sol- 
vents. 

Alumine  fixed  in  abundance  on  cotton  or  linen  stuff,  by 
means  of  a highly  concentrated  alkaline  solution  attracts  very 
easily  the  colouring  parts  in  the  process  of  maddering.  The 
case  is  not  the  same  when  the  same  earth  is  applied,  by  the 
most  highly  concentrated  acetic;  solution  of  alumine  ; and  it  is 
absolutely  impossible  to  finish  maddering  at  one  time,  even 
when  a profusion  of  madder  is  employed,  and  the  operation  is 
repeated  three  and  even  four  times.  This  circumstance  will 
give  rise  to  new  and  interesting  experiments;  but  my  obser- 
vations prove  in  the  mean  time,  that  maddering  in  general  re- 
quires  to  be  managed  with  the  nicest  attention. 


Process  for  dyeing  wool  in  the  grease , a permanent  blue  colour . 

From  the  44  Annales  des  Arts  et  Manufactories 

“ Mr.  Favieux,  Chemist  of  Toulouse  has  communicated  a 
very  economical  process  for  dyeing  wool  in  the  grease,  a blue 
colour,  from  the  darkest  to  the  lightest  tint  $ this  process  is  of 
the  greater  utility,  as  the  colour  is  more  permanent,  and  stands, 
any  trials  to  which  it  may  be  subjected,  better  than  if  the  wool 
had  been  washed  previous  to  the  operation. 

Take  four  ounces  best  indigo,  reduce  it  to  a very  fine  pow- 
der, and  pass  it  through  a silk  sieve.  For  every  four  ounces  of 
indigo,  take  twelve  pounds  of  wool  in  the  grease;  put  the  whole 
into  a copper,  large  enough  to  contain  all  the  wool  to  be  dyed. 
Commence  the  operation  by  covering  the  bottom  with  a thin 
layer  of  indigo  powder,  on  which  put  one  of  wool,  then  a se- 
cond of  indigo,  and  thus  alternately  one  of  each,  till  the  boiler 
is  full ; taking  care  that  the  first  and  last  layer  be  of  indigo,, 
and  the  wool  be  well  separated  in  layers  of  equal  quantity. 


234 


SECRETS  IN  ARTS,  TRADES,  8c c. 


A ley  should  be  previously  prepared,  of  wood  ashes,  or  pot- 
ash, marking  two  degrees  on  the  hydrometer,  and  in  sufficient 
quantity  to  fill  the  boiler,  and  cover  the  materials  entirely  ; be- 
fore the  ley  is  poured  on  them,  it  should  be  warmed,  but  not 
made  so  hot,  as  to  prevent  the  manipulations. 

As  soon  as  the  boiler  is  filled,  the  wool  is  then  pressed  down 
equally  all  over,  and  worked  with  the  hand,  that  it  may  im- 
bibe the  liquid  in  an  uniform  manner.  A gentle  heat  is  kept 
up  till  the  next  day,  with  small  coal,  or  only  hot  ashes  thrown 
underneath  the  boiler  ; attention  must  be  paid  to  raise  the  de- 
gree of  heat,  before  and  during  the  manipulation,  and  to  work 
the  wool  every  day  for  about  a week  ; the  more  labour  is  be- 
stowed on  manipulation,  the  greater  uniformity  and  intensity 
it  requires. 

As  soon  as  the  requisite  colour  is  obtained,  the  operation  is 
terminated  by  washing  and  drying  the  wool  ; a light  blue  may 
beproduced  by  diminishing  the  quantity  of  indigo,  and  pro- 
ceeding in  the  same  manner.  The  liquor  remaining  after  dye- 
ing may  be  again  used  to  produce  lighter  blues. 

This  very  simple  process  is,  without  doubt,  within  the  reach 
of  most  private  families  and  people  in  the  country,  for  whom 
it  was  principally  contrived  by  Mr.  Fovieux  ; and  it  is  the 
most  economical  process  existing  tor  the  purpose. 

The  author  asserts,  that  the  colour  is  as  beautiful  and  per- 
manent, as  the  finest  blue  produced  by  woad  ; but  a still  more 
important  object  is,  that  by  this  method  of  dyeing  wool,  it  lo- 
ses less  in  weight  than  if  it  were  previously  scoured. 

A late  writer  in  an  American  paper,  says,  that  he  tried  some 
experiments  on  the  sea  nettles,  which  are  cast  on  shore  by  fish- 
ermen, and  found  that  a liquid  which  they  contained,  dyed 
woolen,  cotton,  and  silk  articles,  a bright  and  beautiful  purple 
which  increased  the  oftener  it  was  washed.  As  sea  nettles  a- 
bound  in  many  parts  of  our  sea  coast,  the  above  hint  deserves 
attention. 

POKE  BERRY  DIF. 

Mr.  Moses  Lindo  of  South-Carolina,  in  1764,  boiled  three 
quarters  of  a pint  of  the  juice  with  a pint  of  rain-water  about  a 
qu  rter  of  an  hour.  He  then  took  pieces  of  flannel,  and  num- 
bered them  one  and  two,  boiled  them  in  alum  in  a seperate  pot, 
for  a quarter  of  an  hour,  and  rinsed  them  in  cold  water.  He 
then  dipped  the  flannel  No.  1,  into  the  pot  of  prepared  juice, 
and  after  it  had  simmered  five  minutes,  he  rinsed  it  in  cold  wa- 
ter ; a Crimson  die  was  fixed  in  the  piece  superior  to  the  co- 
lour of  the  juice  itself.  He  then  dipped  the  flannel  No.  2,  in 
the  juice;  and  washing  his  hands,  which  were  stained  with 
the  juice,  in  lime  water,  he  found  the  colour  change  to  a bright 


SECRETS  IN  ARTS,  TRADES, 


233 


Yellow.  He  then  threw  a wine  glass  full  of  lime  water  into  the 
pot  where  No.  2,  was  simmering,  which  turned  both  juice  and 
flannel  to  a bright  yellow.  Thus  he  found  that  alum  fixed  the 
crimson,  and  lime  water  the  yellow  colour. 

These  experiments  deserve  attention.  If  the  dye  of  the 
Phytolaca,  could  be  fixed,  a most  valuable  acquisition  would 
be  made  to  the  national  resources. 

XXXI.  On  Bleaching, 

The  art  of  bleaching  is  of  great  antiquity.  The  ancients 
were  acquainted  with  the  detersive  quality  of  some  kinds  of 
clay,  and  the  effect  produced  by  the  action  of  the  atmosphere, 
moisture,  and  light,  on  the  stuffs  exposed  to  them.  Health 
and  cleanliness  rendered  it  necessary  to  devise  quicker  methods 
then  these  ; the  property  of  soaps,  and  leys  of  ashes,  were, 
therefore  soon  discovered. 

In  the  present  age,  the  arts  following  science  with  close 
steps,  have  taken  the  advantage  of  processes,  and  detersive 
menstrua,  the  existence  of  which  was  before  unknown  ; these 
discoveries  have  succeeded  each  other  with  such  rapidity,  that 
the  last  eight  years  have  effected  a complete  revolution  in  the 
art  of  bleaching. 

This  art  is  naturally  divided  into  two  distinct  branches, The 
bleaching  of  vegetable,  and  of  animal  substances.  These  be- 
ing of  very  different  natures,  require  different  processes  for 
whitening.  Vegetables  consist  of  oxygen,  hydrogen,  and  car- 
bon, of  which  the  latter  is  in  the  greatest  proportion;  while 
animal  substances,  besides  these,  contain  also  a large  quantity 
of  agate,  and  also  phosphorus  and  sulphur. 

Bleaching  of  Flax  and  Hemp* 

If  ripe  flax  or  hemp  be  examined,  they  will  be  found  to  con- 
sist of  a thin  bark,  enveloping  a green  sap,  next  the  fibres  or 
filaments  that  are  used  in  the  washing  of  linen,  and  within  that 
the  woody  part.  As  the  fibrous  part  only  is  used  in  making 
cloth,  it  is  necessary  to  separate  that  from  the  other  substances. 

The  sap,  or  succulent  part  is  composed  of  extractive  princi- 
ple and  water,  and  the  first  process  is  to  separate  this  substance, 
which  holds  the  filaments  together.  This  process  is  termed 
the  watering  er  rotting  of  the  flax  and  hemp,  of  which  we  have 
already  treated  largely ; as  the  following  method,  however, 
may  be  prefered  by  some,  we  give  it  in  full,  leaving  to  our  rea- 
ders to  select  from  the  two,  or  to  determine  which  is  best,  by 
actual  experiment. 

As  soon  as  the  flax  is  pulled,  it  is  steeped  in  soft  water,  un« 
til  the  putrefactive  fermentation  takes  place.  This  degree  of 


.$3*  SECRETS  IN  ARTS,  TRADES,  &c. 

fermentation  begins  with  the  succulent  part,  as  being  more 
susceptable  of  fermentation  than  the  rest.  Were  the  flax  to  be 
continued  long  in  this  state,  the  whole  substance  of  it  would 
be  decomposed  and  destroyed  ; it  must  therefore  be  taken  out 
of  the  water  when  the  wood  breaks  easily  between  the  hands, 
while  it  is  yet  green,  and  before  the  whole  of  its  sap  is  sepa- 
rated. Well  water,  and  brackish  water,  as  well  as  that  which 
flows  over  gypseous  soil  must  be  carefully  avoided,  as  such 
water  accelerates  putrefaction,  and  would  injure  the  texture 
of  the  fibres.  It  is  thus  that  a little  salt  accelerate  animal  pu- 
trefaction, while  a great  deal  tends  to  prevent  it  ; and  the  por- 
tion of  saline  substances  held  in  solution  in  the  water,  hasten 
the  corruption  of  the  filiaments,  which  it  blackens  and  spoils. 

This  operation  of  watering  is  long  and  noxious,  as  it  is  found 
to  destroy  the  fish  in  any  stream  that  may  be  used,  and  the 
smell  of  the  putrifiying  plants  is  extremely  offensive.  It  is  one 
of  the  improvements  of  the  manufacture  by  modern  chemistry 
to  shorten  this  process,  and  to  perform  it  with  less  risk  of  in- 
juring the  flax.  If  the  steam  of  a solution  of  caustic  alkali  in 
water  be  introduced  into  a room  of  from  twenty  to  thirty  feet 
square  in  which  the  flax  is  suspended,  it  will  produce  the  same 
effect  as  watering,  in  less  time,  and  with  less  expence  than  the 
European  method ; and  also  with  less  danger  to  the  flax,  which 
is  frequently  injured  by  too  long  steeping. 

Nothing  remains  after  the  watering  is  completed,  but  the 
woody  part  (which  is  a hollow  tube)  covered  over  very  com- 
pactly with  the  coat,  or  flax.  To  separate  these,  it  must  be 
thoroughly  dried  to  render  it  brittle  or  frangible  ; this,  in  some 
countries,  is  done  in  a kiln,  but  care  must  be  taken  not  to  ap- 
ply too  much  heat. 

It  is  next  to  be  beat,  or  broke,  either  by  manual  labor  with 
mallets  on  a sort  of  wooden  anvils,  with  brakes,  or  by  mills  for 
the  purpose.  The  flax  is  by  this  means  divided  into  a small 
fibres,  and  most  of  the  wood  separated,  or  reduced  to  small 
fragments,  which  are  cleared  away  by  schutching  or  threshing. 

After  the  threshing,  or  dressing  as  it  is  called  in  the  United 
States,  hackling  through  the  finer  hackles  is  the  last  process, 
which  is  nothing  more  than  drawing  or  combing  the  flax  in 
small  parcels  at  a time,  through  the  finer  hackles,  begining 
with  the  coarsest,  and  using  the  finest  last;  three  are  generally 
used  of  which  the  spikes  are  placed  pretty  close  together, 
smoothly  polished,  and  sharp  pointed.  This  process  of  hackling 
answers  several  purposes  ; first  it  divides  the  fibres  of  the  flax 
from  each  other  ; secondly  it  detaches  the  minute  fragments  of 
wood  which  escaped  the  process  of  schutching  or  dressing, 
and  lastly  it  separates  the  short  coarse  flax  commonly  called 
tow. 

The  flax  is  then  ready  to  be  spun  into  thread  or  yarn,  whidh 


SECRETS  IN  ARTS,  TRADES,  kc> 


2$r 

is  afterwards  manufactured  into  cloth  by  the  weaver.  It  is 
now  that  the  process  of  bleaching  begins.  The  linen  as  it 
comes  from  the  loom,  is  charged  with  a paste  used  to  faciiri 
tate  the  weaving.  To  discharge  this  paste,  the  linen  must  be 
steeped  in  water  for  forty-eight  hours,  till  the  extraneous  sub- 
stance is  decomposed  by  fermentation,  which  does  not  extend 
to  the  linen  itself.  Some  bleachers  boil  the  linen  in  water  ; but 
improperly,  as  paste  is  not  soluble  in  boiling  water. 

When  linen  is  well  washed  and  rinsed  after  the  last  process, 
it  is  of  a greyish  white  colour,  although  the  fibres  of  which  it 
is  composed  are  naturally  very  white. 

To  separate  the  matters  that  discolours  the  linen,  is  the  busi- 
ness of  bleaching.  This  grey  substance  is  of  a resinous  na- 
ture, insoluble  in  water,  and  from  its  intimate  union  or  dis- 
semination through  the  very  fibres  of  the  flax,  is  difficult  of 
separation,  even  by  those  substances  that  have  a soluent  power 
over  it. 

Alkaline  leys,  or  solution  of  alkali  rendered  caustic,  have  the 
property  of  dissolving  resins,  hence  they  have  been  employed  as 
menstrua  for  this  purpose  ; but  alone  they  are  not  sufficient 
for  compleating  the  process  of  bleaching.  What  appears  to 
be  a single  ultimate  fibre  of  flax  in  grey  linen,  is  composed  of  a 
bundle  of  minute  filaments,  closely  cemented,  or  gylutinated 
together,  by  the  resinous  matter ; therefore  the  pot-ash  first 
only  acts  upon  the  resin  of  the  external  coating  of  filaments, 
by  which  means  they  are  loosened  or  separated,  and  exposed 
to  the  further  action  of  the  air.  The  second  boiling  of  pot- 
ash opens  a second  layer,  and  thus  successively  layer  after  lay- 
er, until  the  whole  is  divided  or  opened  to  the  center.  Were 
the  alkaline  solution  sufficiently  strong  to  force  its  way  at  once 
to  the  center,  it  would  act  upon  the  filaments  themselves,  and 
destroy  the  texture  of  the  cloth.  Each  filament,  after  the  al- 
kaline process  retains  an  impregnation  of  colouring  matter,  so 
intimately  united  as  to  resist  the  further  action  of  it.  This 
can  only  be  removed  by  the  slow  and  gradual  influence  of  the 
atmosphere,  according  to  the  old  method  of  bleaching,  or  by 
the  modern  improvement  of  using  the  oxygenated  muriatic 
acid. 

To  explain  the  principle  upon  which  this  latter  part  of  the 
process  is  effected,  we  must  consider  that  the  resin  which  forms 
the  colouring  matter  of  unbleached  linen,  is  composed  prin- 
cipally of  carbon  and  hydrogen,  this  is  partly  dissolved  by  the 
the  alkaline  ley,  and  what  remains  becomes  united  to  the  oxygen 
of  the  atmosphere;  flying  off  in  the  state  of  carbonic  acid  gas, 
or  remaining  as  water. 

The  great  objection,  in  Europe,  to  the  old  method  of  bleach- 
ing, was  its  tediousness,  two  or  three  months  being  requisite 
to  gixe  the  doth  the  necessary  whiteness.  The  simplicity  of 


?238 


SECRETS  TN  ARTS,  TRADES,  &c. 


it,  however,  and  the  little  apparatus  it  required,  recommended 
it  on  some  occasions,  and  accordingly  it  is  employed  by  those 
country  people  who  make  their  own  cloth,  particularly  in 
Scotland. 

Method  of  Bleaching  by  the  action  of  the  atmospheric  air . 

After  steeping  the  linen  as  above  mentioned,  for  to  remove 
the  weavers  dressing,  the  pieces  are  dryed,  and  then  submitted 
to  the  operation  of  bucking.  For  this  purpose  a ley  is  pre- 
pared by  dissolving  a quantity  of  pot-ash  in  soft  water,  to  which 
is  added  some  soap.  This  liquor  is  heated  to  about  one  hun- 
dred degrees,  and  poured  upon  the  pieces  of  linen.  After  the 
doth  is  well  down  in  the  ley,  it  is  drawn  off,  heated  a little 
higher,  and  again  poured  upon  the  cloth.  This  operation  is 
repeated  at  intervals,  allowing  the  ley  to  remain  longer  each 
succeeding  time,  and  moderately  increasing  the  heat,  for  five 
or  six  hours.  Then  the  cloth  is  left  steeping  for  three  or  four 
"hours,  when  it  is  taken  out,  well  rinsed,  and  carried  to  the  field* 
Here  it  is  spread  upon  the  grass,  and  secured  by  pins ; water 
is  sprinkled  on  it,  so  as  notto  allow  it  to  become  dry  for  some 
hours.  After  it  has  lain  a bout  half  a day,  the  watering  is  less 
frequent,  and  at  night  it  is  left  to  the  full  action  of  the  air  and 
dews.  On  the  succeeding  days,  it  is  watered  three  or  four 
times  a day,  if  the  weather  be  dry,  and  then  it  remains  in  the 
field  till  the  air  seems  to  have  less  effect  in  whitening.  It  is 
then  brought  back  to  the  coppers  and  bucked  again,  with  a 
ley  somewhat  stronger  than  the  last,  rinsed,  and  again  spread 
out  in  the  field.  It  is  thus  alternately  bucked  and  watered  ten 
or  fifteen  times,  according  to  the  weather,  making  the  buck- 
ing stronger  and  stronger,  till  about  the  middle,  and  then  weak- 
er and  weaker  till  towards  the  last. 

It  must  now  undergo  the  process  ofcouring  or  steeping  in 
some  acid  liquor.  The  acid  which  has  been  usually  employed 
for  the  process  of  scouring,  is  formed  by  the  fermentation  of 
bran  and  water,  or  sometimes  sour  whey  has  been  used.  But 
sulphuric  acid,  very  much  diluted,  has  been  found  more  con- 
venient, and  not  more  injurious.  The  cloths  are  kept  in  the 
souring  for  five  or  six  days,  if  it  be  formed  of  milk  or  bran, 
or  a less  time  when  the  sulphuric  acid  is  used.  They  are  then 
rubbed  with  soap,  more  particularly  the  selveges,  as  these  re- 
sist most  the  action  of  the  air.  The  cloth  is  now  again  bucked, 
rinsed,  watered,  and  exposed  to  the  air,  and  these  processes 
are  again  repeated  successively,  till  the  linen  has  acquired  the 
mecessary  whiteness. 

Bleaching  by  the  oxygenated  muriatic  acid. 

The  oxygenated  muriatic  acid  gas,  and  its  property  of  dfr* 
itroying  colours,  will  be  found  described  in  almost  everfr 


SECRETS  IN  ARTS,  TRADES,  kc\ 


239 

treatise  upon  chemistry.  This  combined  with  water,  forms 
the  oxygenated  muriatic  acid,  which  is  therefore  only  a com- 
bination of  muriatic  acid  and  oxygen.  All  vegetable  colours 
are  attacked  by  this  acid,  and  whitened  with  more  or  less  ce- 
lerity; the  colouring  matter  undergoes  areal  slow  combustion, 
terminating  by  the  formation  of  carbonic  acid  gas,  which  es- 
capes into  the  atmosphere.  In  whatever  manner  the  oxygena- 
ted muriatic  acid  is  procured,  it  is  evident  that  the  oxygen  ad- 
heres to  it  only  weakly,  and  it  is  upon  this  property  that  the 
possibility  depends  of  producing  speedily  in  manufactories, 
that  action  which  the  atmosphere  produces  but  slowly,  and  of 
bleaching  in  a time  proportionably  short. 

The  oxygenated  muriatic  acid  is  employed  in  four  different 
ways  for  the  purposes  of  bleaching  ; first,  in  the  state  of  gas 
alone;  secondly,  in  the  state  of  gas  combined  with  water,  or 
what  is  called  the  acid  ; thirdly,  potash  is  mixed  with  the  acid 
to  condense  the  gaseous  vapour,  and  destroy  its  suffocating 
odour  ; fourthly,  oxygenated  muriates,  disolved  in  water,  are 
employed. 

The  first  method,  viz.  employing  the  gas,  was  never  used 
but  for  the  purpose  of  experiment ; as  the  vapour  is  of  so  nox- 
ious a quality,  that  to  breathe  it  is  fatal,  and  several  peopls 
fell  a sacrifice  to  their  attempts  in  employing  it. 

When  condensed  in  water,  or  in  the  state  of  oxygenated 
muriatic  acid,  it  was  found  inconvenient  in  the  large  way,  on 
account  of  the  expence  and  difficulty  in  constructing  the  ne- 
cessary apparatus,  and  on  account  of  the  suffocating  vapour 
which  escaped. 

For  the  discovery  of  the  oxygenated  muriatic  acid,  its  effects 
on  colouring  matter,  and  its  inestimable  advantages,  the  arts 
are  indebted  to  the  justly  celebrated  Scbeele . M . Beribollet  lost 
no  time  in  applying  this  curious  and  highly  interesting  sub* 
stance  to  the  most  important  practical  uses.  His  experiments 
of  bleaching  by  oxygenated  muriatic  acid,  proved  completely 
successful,  and  he  did  not  delay  to  communicate  his  valuable 
labors  to  the  public.  The  new  method  of  bleaching  was 
quickly  and  successfully  introduced  into  the  manufactories  of 
Manchester,  Glasgow,  Rowen,  Valeneieunes,  and  Courtney ; 
and  it  has  since  been  generally  adopted  in  Great  Britain,  Ire- 
land, France,  and  Germany.  The  advantages  that  result  from 
this  method,  which  accelerates  the  process  of  whitening  cot- 
tons, linens,  paper,  & c.  can  be  justly  appreciated  by  commer- 
eial  people  only,  who  experience  its  beneficai  effects  in  many 
ways,  but  particularly  in  the  quick  circulation  of  their  capi- 
tals. < 

The  methods  of  procuring  this  acid  will  be  found  described 
in  most  modern  treatises  on  chemistry.  To  save  the  expencC 
of  first  preparing  the  muriatic,  the  usual  practice  is  to 


240 


SECRETS  IN  ARTS,  TR  ADES,  kc. 


with  the  oxide  of  manganese,  muriate  of  soda  or  common  salt, 
and  sulphuric  acid  diluted  with  water.  The  sulphuric  acid 
acts  upon  the  salt,  and  disengages  it  from  the  muriatic  acid, 
which  is  oxygenated  by  the  oxide  of  manganese.  The  pro- 
portions to  be  observed  when  cotton  is  to  be  bleached  are  : — 
manganese  thirty  parts,  common  salt  eighty,  sulphuric  acid 
sixty,  water  one  hundred  and  twenty.  For  linen  cloth  the 
proportions  are  as  follows  manganese  sixty  parts,  salt  sixty, 
sulphuric  acid  fifty,  water  fifty.  The  better  these  substances 
are  combined  together,  the  more  easily  will  the  acid  gas  be  dis- 
engaged by  the  action  of  the  sulphuric  acid. 

To  ascertain  the  strength  of  the  acid  for  bleaching,  a solu- 
tion of  indigo  in  the  sulphuric  acid  is  employed.  The  colour 
of  this  is  destroyed  by  the  oxygenated  muriatic  acid  ; and,  ac- 
cording to  the  quantity  of  it  that  can  be  discoloured  by  a given 
quantity  of  the  liquor,  its  strength  is  known. 

Cloth  is  prepared  for  immersion  in  oxygenated  w*ater,  by 
soaking  in  a ley  of  weak  potash,  and  rinsing  it  afterwards  in  a 
large  quantity  of  water,  in  order  to  free  it  completely  from  the 
weaver’s  dressing,  and  the  saliva  of  the  spinners. 

In  England  machinery  is  employed  for  rinsing  and  beating  ; 
the  apparatus  must  be  arranged  according  to  the  objects  to  be 
bleached  ; the  skeins  of  thread  must  be  suspended  in  the  tub 
destined  for  them,  and  the  cloth  must  be  rolled  upon  reels  in 
the  apparatus.  When  every  thing  is  thus  disposed,  the  tubs 
are  filled  with  oxygenated  muriatic  acid,  by  introducing  a fun- 
nel, which  descends  to  the  bottom  of  the  tub,  in  order  to  pre- 
vent the  dispersion  of  the  gas.  The  cloth  is  wound  on  the 
frame  work  on  which  the  skeins  are  suspended,  is  turned  seve- 
ral times,  until  itisjudged,  by  taking  out  a small  quantity  of 
the  liquor  from  time  to  time,  and  trying  it  by  the  test  of  the 
solution  of  indigo,  that  it  is  sufficiently  exhausted.  The 
weakened  liquor  is  then  drawn  off,  and  may  be  again  employ* 
ed  for  a new  saturation. 

Great  difficulties  for  a time  impeded  the  progress  of  this 
method  of  bleaching,  arising  chiefly  from  prejudice,  and  the 
Ignorance  of  bleachers  in  chemical  processes.  These  obstacles 
were,  however,  soon  removed  by  Mr.  Watt  of  Glasgow,  and 
Mr.  Henry  and  Mr.  Cooper  at  Manchester.  Another  difficulty 
presented  itself  which  had  nearly  proved  fatal  to  the  success  of 
the  operation.  This  wastfye  want  of  a proper  apparatus,  not 
for  making  the  acid,  and  combining  it  with  water,  for  this  had 
been  supplied  in  a very  ingenious  manner  by  Mr.  Watt  and  M. 
Berthollet ; but  for  the  purpose  of  immersing  and  bleaching 
goods  in  the  liquor.  The  volatility  of  this  acid,  and  its  suffo- 
cating vapours,  prevented  its  application  in  the  common  me- 
thod of  using  it  in  dye-houses.  Large  cisterns  were  therefore 
constructed,  in  which  pieces  of  stuff  were  stratified  $ and  the 


SECRETS  IN  ARTS,  TRADES,  :&c.  £4 1 

liquor  being  poured  on  them,  the  cisterns  were  closed  with 
lids.  But  this  method  wassoonfound  to  be  defective,  as  the 
liquor  could  not  be  equally  diffused  ; the  pieces  were  therefore 
only  partially  bleached,  being  white  in  some  parts,  and  more 
or  less  coloured  in  others. 

Mr.  Rupp,  of  Manchester,  invented  an  apparatus  for  bleach- 
ing cloth,  exceedingly  simple  in  its  construction,  of  small  ex- 
pence, and  which  contains  the  liquor  in  such  a manner  as  to 
prevent  the  escape  of  the  oxygenated  muriatic  acid  gas.  A 
consideration  of  no  less  importance  in  the  arrangement  of  this 
apparatus,  is  the  impossibility  of  the  vapour  injuring  the  health 
of  the  workmen. 

It  was  found,  however,  that  the  use  of  the  oxygenated 
muriatic  acid  alone,  weakened  the  cloth,  and  various  methods 
of  preventing  its  noxious  effects  upon  the  health  of  the  work- 
men were  tried  without  success,  till  it  was  discovered  that  an 
addition  of  alkali  to  the  liquor,  deprived  it  of  its  suffocating  ef- 
fects, without  destroying  its  bleaching  powers.  The  process 
began  then  to  be  carried  on  in  open  vessels,  and  has  been  con- 
tinued in  this  manner  to  the  present  period.  The  bleacher  is 
now  able  to  work  his  pieces  in  the  liquor,  and  to  expose  every 
part  of  them  to  its  action,  without  inconvenience. 

Potash  was  at  first  used  for  this  purpose,  and  although  this 
advantage  was  unquestionably  great,  it  was  diminished  by  the 
heavy  expence  of  the  alkali,  which  was  entirely  lost.  Also, 
the  potash  which  was  added  to  the  liquor,  though  it  did  not 
destroy  its  power  of  bleaching,  diminished  it,  because  a solu- 
tion of  the  oxygenated  muriate  of  potash,  which  differs  from 
this  bleaching  liquor  in  nothing  but  in  the  proportion  of  alkali, 
will  not  bleach  at  all.  This  is  a well  known  fact,  from  which 
we  might  infer,  that  the  oxygenated  muriatic  acid  will  lose  its 
power  of  destroying  the  colouring  matter  of  vegetable  sub- 
stances, in  proportion  as  it  becomes  neutralized  by  potash. 

It  was  afterwards  discovered  that  the  oxymuriatic  acid  might 
be  combined  with  the  alkaline  earths,  as  lime  and  barytes,  and 
also  with  magnesia,  by  this  means  forming  oxy muriates,  which 
were  soluble  in  water,  and  had  the  property  of  bleaching.— . 
The  oxymuriate  of  lime  is  at  present  used  in  almost  all  the 
bleaching  grounds.  For  the  manner  of  preparing  it,  Mr.  Ten- 
nant took  out  a patent ; but  this  has  been  lately  contested,  and 
it  is  now  prepared  and  used  by  all  the  bleachers  through  the 
country. 

If  the  oxygenated  muriatic  acid  be  passed  through  lime  wa- 
ter, it  will  combine  with  the  lime,  and  form  oxymuriate  of 
lime ; but  as  the  water  can  only  retain  a smaii  portion  of  lime, 
this  was  not  found  of  much  use.  To  cause  a larger  quantity 
of  lime  to  combine  with  the  oxymuriatic  acid  gas,  the  lime  is 
.mechanically  suspended  in-the  waterv,  into  which  the  .gas  i& 


SECRETS  IN  ARTS,  TRADES,  Sec. 


242 

made  to  pass,  and  agitated  so  as  to  present  fresh  matter  to 
the  gas.  By  this  means  the  oxymuriate  of  lime  is  formed  in  a 
very  convenient  manner : it  is  dissolved  in  water,  and  used  as 
a bleaching  liquor. 

This  liquor  is  found  to  be  preferable  to  the  oxygenated  mu- 
riatic acid  and  potash.  At  the  great  bleach-fields  in  Ireland, 
four  leys  of  potash  are  applied  alternately  with  four  weeks  ex- 
posure on  the  grass,  two  immersions  in  the  oxygenated  muriate 
of  lime,  a ley  of  potash  between  the  two,  and  the  exposure  of 
a week  on  the  grass  between  each  ley  and  the  immersion. — 
During  summer,  two  leys  and  fifteen  days  exposure  are  suffi- 
cient to  prepare  cloth  for  the  action  of  the  oxygenated  muriate ; 
then  three  alternate  leys,  with  immersions  in  the  liquor,  will  be 
sufficient  for  complete  bleaching  ; nothing  then  will  be  neces- 
sary, but  to  wind  the  cloth  through  the  sulphuric  acid. 

The  oxygenated  muriatic  acid  gas  may  also  be  combined 
with  lime  in  a dry  state,  or  the  water  may  be  evaporated, 
when  it  is  employed  for  the  formation  of  oxymuriates,  which 
may  then  be  very  conveniently  transported  to  any  distance 
without  injury  to  its  detersive  powers,  an  advantage  not  pos 
Sessed  by  the  acid  alone,  which  cannot  be  transported  without 
the  loss  of  almost  half  of  its  strength. 

The  sulphuret  of  lime,  or  the  combination  of  sulphur  and 
lime,  which  are  both  cheap  articles,  has  been  proposed  by 
Mr.  Higgins  to  answer  the  purposes  of  potash  in  bleaching  ; 
and  it  is  certainly  useful  in  some  cases,  though  in  others  it  will 
not  supercede  the  use  of  alkali. 

The  sulphuret  of  lime  is  prepared  in  the  following  manner, 
for  the  purpose  of  bleaching  ; take  sulphur,  or  brimstone,  in 
fine  powder,  four  pounds  ; lime,  well  slacked  and  sifted,  twen- 
ty pounds  ; water,  sixteen  gallons.  These  are  to  be  well 
mixed,  and  boiled  for  about  half  an  hour  in  an  iron  vessel, 
stirring  them  briskly  from  time  to  time.  Soon  after  the  agita- 
tion of  boiling  is  over,  the  solution  of  the  sulphuret  of  lime 
clears,  and  may  be  drawn  off  free  from  the  insoluble  matter, 
which  is  considerable,  and  which  rests  upon  the  bottom  of  the 
boiler.  The  liquor,  in  this  state,  is  pretty  nearly  of  the  colour 
of  small  beer,  but  not  quite  so  transparent. 

Sixteen  gallons  of  fresh  water  are  afterwards  to  be  poured 
upon  the  insoluble  dregs  in  the  boiler,  in  #rder  to  separate  the 
whole  of  the  sulphuret  from  them.  When  this  clears,  (being 
previously  agitated)  it  is  also  to  be  drawn  off,  and  mixed  with 
the  first  liquor  ; to  these  again  thirty-three  gallons  more  of 
water  may  be  added,  which  will  reduce  the  liquor  to  a proper 
standard  for  steeping  the  cloth.  Here  we  have  (an  allowance 
being  made  for  evaporation,  and  for  the  quantity  retained  in 
the  dregs)  sixty  gallons  of  liquor  from  four  pounds  of  brim  - 
stone. 


SECRETS  IN  ARTS,  TRADES,  &g. 


243 


Although  sulphur  is  not,  by  itself,  in  any  sensible  degree  so* 
luble  in  water,  and  lime  but  sparingly  so,  water  dissolving  on- 
ly about  one  seven  hundredth  part  of  its  weight  of  lime  ; yet 
the  sulphuret  of  lime  is  highly  soluble. 

When  linen  is  freed  from  the  weaver’s  dressing,  in  the  man- 
ner already  described,  it  is  to  be  steeped  in  the  solution  of 
sulphuret  of  lime  (prepared  as  above)  for  about  twelve  or 
fourteen  hours,  and  then  washed  and  dried.  This  process  is 
to  be  repeated  six  times,  that  is,  six  alternate  immersions  in 
each  liquor,  which  has  been  found  to  whiten  linen. 

The  rationale  of  these  processes  is  the  following  5 the  oxy- 
genated liquor  supplies  to  the  cloth  the  place  of  the  atmosphe- 
ric air,  and  this  in  a state  of  greater  abundance,  and  in  a state 
which  renders  its  action  on  the  cloth  more  expeditious  and 
more  complete.  By  the  union  of  the  oxygen  with  the  carbon 
of  the  colouring  matter  of  cloth,  carbonic  acid  is  formed  and 
flies  off. 

Steam  has  been  lately  employed  in  bleaching,  with  great  suc- 
cess in  France.  The  process  was  first  brought  from  the  Le- 
vant. Chaptal  first  made  it  known  to  the  public. 

In  the  old  processes,  a long  succession  of  leys,  and  exposures 
on  the  grass,  was  necessary  to  penetrate  the  fibres  of  the  linen 
from  stratum  to  stratum.  The  texture  was  sufficiently  close 
to  resist  the  action  of  the  heat  of  a common  ley,  and  a con- 
siderable time  was  required  to  absorb  the  oxygen  presented  by 
the  delicate  stratum  of  atmospheric  air. 

In  the  process  of  bleaching  by  steam,  these  difficulties  are  re- 
moved. The  high  temperature  of  the  steam,  in  the  interior 
part  of  the  apparatus  swells  up  the  fibres  of  the  thread  or 
doth  ; the  pure  alkali,  which  rises  with  the  elastic  fluid,  seizes 
with  avidity  on  the  colouring  matter,  and  burns  it ; seldom 
does  the  tissue  of  the  flax  or  hemp  resist  the  penetrating  effect 
of  this  vapour  bath.  The  whole  matter,  therefore,  by  which 
they  are  coloured  is  attacked  and  decomposed  by  this  single 
operation  ; and  even  if  we  suppose  that  a part  has  been  able  to 
resist,  nothing  is  necessary  but  to  repeat  the  operation,  after  a 
previous  immersion  and  exposure  on  the  grass,  to  insure  its 
complete  effect.  The  alkali  even  appears  to  have  a much 
livelier  and  more  caustic,  when  it  is  combined  with  caloric, 
than  in  ordinary  leys,  where  the  temperature  never  rises  above 
162°  of  Fahrenheit . By  making  the  cloth  or  thread  pass 
through  one  ley  of  oxygenated  of  muriatic  acid,  or  oxygenated 
muriate  of  lime,  an  union  is  effected  between  the  solution,  and 
the  carbon,  arising  from  the  burning  of  the  extracto-mucous 
matter  of  the  flax ; carbonic  acid  is  formed  ; the  water  even 
in  which  this  new  compound  is  diluted,  concurs  to  promote 
this  combination  ; the  cloth  be  then  exposed  on  the  grass,  the 
carbonic  acid  is  dissipated,  and  the  cloth  is  bleached. 


£44  SECRETS  IN  ARTS,  TRADES,  &c. 

It  was  believed  that  the  steam  of  a pure  alkaline  ley  would 
not  be  caustic,  and  would  not  produce  the  same  effect  as  the 
saline  solution  ; and  the  Teason  assigned  for  this  opinion  was, 
the  concentration  of  all  the  salts  by  the  evaporation  of  the  a- 
queous  fluid  ; but  what  takes  place  in  the  open  air,  where  the 
atmosphere  every  moment  absorbs  the  moisture  which  is  eva- 
porated, cannot  be  applied  to  a close  apparatus,  where  the 
temperature  is  elevated  in  an  extreme  degree  ; besides,  the  ca- 
loric always  carries  with  it  a little  alkali,  even  in  low  tempe- 
ratures, as  is  observed  when  water  is  poured  over  potash  ; the 
steam  which  issues  from  it  changes  blue  vegetable  colours  to 
green. 

The  action  of  steam  alone  does  not  bleach,  and  the  concur- 
rence of  oxygen  is  necessary  to  aid  the  composition  of  the  car- 
bonic acid  ; this  acid  requires  for  its  formation,  twenty-eight 
parts  of  carbon,  saturated  with  seventy-two  of  oxygen  ; but  all 
the  oxygen  contained  in  the  apparatus,  would  not  be  sufficient 
to  saturate  the  considerable  quantity  of  colouring  matter  burnt 
by  the  alkaline  combustion,  and  converted  into  carbon  ; this 
deficit  must  be  supplied  by  immersion  in  any  oxygenated 
liquor  whatever,  and  the  dispensation  of  the  elastic  fluid,  thus 
formed,  must  be  facilitated  by  exposure  on  the  grass. 

To  bleach  cloth  in  this  manner,  it  must  be  immersed  in  a 
slight  alkaline  caustic  liquor,  and  placed  in  a chamber  con- 
structed over  a boiler,  into  which  is  put  the  alkaline  ley,  which 
is  to  be  raised  into  steam.  After  the  fire  has  been  lighted,  and 
the  doth  has  remained  exposed  to  the  action  of  the  steam  for 
a sufficient  length  of  time,  it  is  taken  out,  and  irrrmersed  in 
the  oxygenated  muriate  of  lime,  and  afterwards  exposed  for 
two  or  three  days  on  the  grass.  This  operation  which  is  very 
expeditious,  will  be  sufficient  for  cotton  ; but  if  linen  cloth 
should  still  retain  a yellow  tint,  a second  alkaline  caustic  va- 
pour bath,  and  two  or  three  days  on  the  grass,  will  be  sufficient 
to  give  them  the  necessary  degree  of  whiteness. 

For  the  use  of  private  families,  when  the  linen  is  dirtied  by 
perspiration  or  grdase,  it  will  be  of  great  service  towards  ren- 
dering it  white,  to  steep  it  for  some  time  in  a clear  liquor, 
made  by  mixing  one  quart  of  quick-lime  in  ten  gallons  oi  wa- 
ter, letting  the  mixture  stand  twenty  four  hours,  and  then 
using  the  clean  water  drawn  from  the  lime.  After  the  linen  has 
been  steeped  in  this  liquor,  it  should  be  washed  as  usual,  but 
will  require  much  less  soap  to  be  used. 

Bleaching  of  Cotton. 

Cotton  is  a filamentous  substance,  oV  a kind  of  down  which 
envelopes  the  seeds  of  the  cotton  plant.  This  plant  or  shrub 
came  originalv  from  the  east,  and  though  only  of  recent  cuiti- 


SECRETS  m ARTS,  TRADES,  &c. 


245 


vatjon  in  the  United  States,  its  wool  forms  one  of  our  prin- 
cipal exports,  and  is  no  inconsiderable  material  of  do- 
mestic manufactures.  This  substance,  after  being  seperated 
from  the  seeds,  is  always  charged  with  a coarse  colouring  mat- 
ter, which  soils  it  and  renders  it  opaque.  The  presence  of 
this  unctuous  matter  is  proved  by  the  slowness  with  which 
cotton  absorbs  water,  before  it  is  scoured,  and  by  the  force 
with  which  it  absorbs  it  after  the  operation  ; by  which  means, 
from  being  opaque  it  is  rendered  clear  and  transparent. 

Cotton  varies  a great  deal  in  its  qualities,  according  to  the 
different  kinds,  the  climate  where  produced,  and  the  culture 
employed.  Its  colour  is  sometimes  yellow*  and  sometimes 
white,  but,  in  general  it  is  of  a dirty  yellow. 

To  bleach  it,  does  not  require  the  same  preparations  as 
hemp  and  flax.  The  first  operation  consists  in  scouring  it  in  a 
slight'  alkaline  solution,  or,  what  is  better,  by  exposure  to 
steam.  It  is  afterwards  put  into  baskets  and  rinsed  in  run- 
ning water.  The  immersing  of  cotton  in  an  alkaline  ley,  how- 
ever it  be  rinsed,  always  leaves  with  it  an  earthy  deposit.  It 
is  well  known  that  cotton  bears  the  action  of  acids  better  than 
hemp  or  flax  \ that  sometime  is  even  necessary  before  the  ac- 
tion of  them  can  be  prejudicial  to  it,  and  by  taking  advantage 
of  this  valuable  property  in  regard  to  bleaching,  means  have 
been  found  to  free  it  from  the  earthy  deposit,  by  pressing 
down  the  cotton  in  a very  weak  solution  of  sulphuric  acid,  and 
afterwards  removing  the  acid  by  washing,  lest  too  long  re- 
maining in  it  should  destroy  the  cotton. 

Bleaching  of  Wool. 

The  substances  produced  by  the  animal  kingdom  differ  es- 
sentially in  their  constituent  principles  from  vegatables.  Vega* 
tables  serve  as  the  nourishment  to  the  animals  and  insects,  the 
spoils  of  which  we  employ.  Animalized  by  their  organ,  they 
acquire  other  properties.  We  shall  here  confine  ourselves  to 
the  examination  of  wool  and  silk,  as  the  animal  substances 
most  generally  employed  for  cloathing. 

Wool  is  a kind  of  hair  with  which  the  bodies  of  several  ani- 
mals are  covered.  It  is  composed  of  filaments,  or  tubes,  filled 
with  an  oily  or  medullary  substance.  The  sides  of  these  tubes 
are  perforated  with  a multitude  of  small  pores,  which  commu- 
nicate with  a principal  longitudinal  tube.  By  chemical  analy- 
sis, wool  gives  a great  deal  of  oil,  and  carbonate  of  ammonia  ; 
cailstic  alkaline  leys  disolve  it  entirely.  It  experiences  no 
'change  in  boiling  water  ; it  alters  very  little  when  preserved  in 
a place  well  aired  ; acids  have  very  little  action  upon  it ; when 
exposed  to  a strong  heat  it  enters  into  fusion. 

An  examination  of  these  chemical  facts  is  necessary  for  un- 

Y 


246 


SECRETS  IN  ARTS,  TRADES,  &c. 


derstanding  the  principles  which  ought  to  direct  the  artist  in 
the  bleaching  of  this  substance.  The  little  action  which  acids 
have  upon  wool,  and  its  unalterableness  in  water,  even  when 
aided  by  heat,  render  it  necessary  to  have  recourse  to  alkaline, 
or  saponaceous  leys;  but  its  sulubility  in  these  salts,  shews, 
that  great  prudence  and  caution  must  be  employed.  In  re- 
gard to  acids,  none  have  been  hitherto  used  but  the  sulpherous 
acid,  obtained  in  the  gaseous  state  by  combustion. 

In  the  preliminary  operations  to  which  wool  is  subjected,  it 
is  customary  to  leave  a little  of  its  grease,  to  secure  it  from  in- 
sects Wool  is  often  freed  from  the  grease  by  the  farmers, 
when  they  wish  to  sell  it  at  a high  price,  but  in  the  subsequent 
manipulations,  it  is  greased  or  oiled  before  it  is  combed,  spun, 
&c.  and  as  this  fat  matter  attracts  dust,  it  dirties  and  thickens 
the  stuffs.  The  first  kind  of  bleaching  to  which  wool  is  sub- 
jected, is  to  free  it  from  these  impurities.  This  operation  is 
called  scouring.  In  manufactories,  it  is  generally  performed 
by  means  of  an  ammoniacal  Icy,  formed  of  five  measures  of  ri- 
ver water,  and  one  of  stale  urine  ; the  wool  is  immersed  for 
about  twenty  minutes  in  a bath  of  this  mixture,  heated  to  fifty 
six  degrees  ; it  is  then  to  be  taken  out,  suffered  to  drain,  and 
then  rinsed  in  running  wrater : this  manipulation  softens  the 
wool,  and  gives  it  the  first  degree  of  whiteness  ; it  is  repeated 
a second  and  even  a third  time,  after  which  the  wool  is  fit  to 
be  employed.  In  some  places,  scouring  is  performed  with  wa- 
ter slightly  impregnated  with  soap,  and  indeed,  for  valuable  ar- 
ticles, this  process  is  preferable,  but  it  is  too  expensive  for  ar- 
ticles of  less  value. 

Fulling  the  cloth  adds  still  to  the  whiteness,  and  if  an  increa- 
sed degree  be  necessary,  it  may  be  procured,  by  the  action  of 
the  sulphurous  acid  ; that  is  to  say,  of  the  fumes  of  sulphur  in 
a state  of  combustion,  or  the  vapor  of  that  acid  combined  in 
water. 

Sulphuring  is  generally  performed  in  an  arched  or  very  close 
chamber,  constructed  in  such  a manner,  that  the  articles  to  be 
exposed  to  the  action  of  the  sulphur  can  be  suspended  on  poles. 
The  chamber  being  filled- with  the  articles  to  be  acted  upon,  a 
certain  quantity  of  sulphur  is  put  in  a state  of  combustion  in 
flat  dishes,  having  a large  surface  with  very  little  depth  ; the 
entrance  is  speedily  shut,  and  all  the  interstices  around  the 
door  are  carefully  stopped  to  prevent  the  access  of  the  atmos- 
pheric air.  The  acid  generated  by  the  combustion  of  the  sul- 
phur, penetrates  the  stuffs,  attacks  the  colouring  matter,  de- 
stroys it,  and  effects  the  bleaching.  The  stuffs  are  left  in  the 
stoves  some  time  after  the  deflagration  has  ceased  ; this  time 
varies  from  six  to  twenty  four  hours.  They  are  then  taken 
out  and  made  to  pass  through  a slight  washing  with  soap,  to  re- 
move the  roughness  they  have  acquired  by  the  action  of  the 
acid,  add  to  give  them  the  necessary  softness. 


SECRETS  IN  ARTS  5 TRADE  S3  &c. 


24  7 


This  process  is  imperfect.  At  first,  the  acid  of  the  sulphur 
acts  only  on  the  surfaces,  and  does  not  penetrate.  This  aerial 
immersion  is  not  sufficient ; the  gas  cannot  introduce  itself  to  a 
sufficient  depth  into  the  stuffs,  and  the  super  rices  only  is  whi- 
tened, 

A superior  method  has  been  lately  invented,  which  is  by 
making  use  of  the  sulphureous  add,  which  has  been  already 
described* 

The  sulphureous  acid,  or  that  acid  generated  by  the  imper- 
fect combustion  of  the  sulphur,  differs  from  the  sulphuric  acid 
(oil  of  vitriol),  by  its  containing  less  of  the  acidifying  principle, 
and  by  being,  as  we  may  say,  the  mean  term  between  sulphur, 
and  the  sulphuric  acid. 

Sulphureous  acid  gas  unites  very  easily  with  water,  and 
in  this  combination  it  maybe  employed  for  bleaching  wool 
and  silk.  The  sulphureous  acid  in  this  state  of  liquidity,  may 
be  prepared  bv  making  it  traverse  water  in  an  apparatus  nearly 
similar  to  that  used  for  preparing  oxygenated  muriatic  acid. 
The  most  economical  method  of  obtaining  it,  is  to  decompose 
sulphuric  acid  by  the  mixture  of  any  combustible  matter  capa- 
ble of  taking  from  it  a part  of  its  oxygen,  lit  exact  experi- 
ments of  the  laboratory,  when  the  chemist  is  desirous  of  hav- 
ing great  purity,  it  is  obtained  by  means  of  metalic  substances, 
and  particularly  by  mercury,  but  for  the  purpose  of  which  we 
are  treating*  where  great  economy  is  required,  we  would  re- 
commend the  most  common  substances.  We  shall  therefore 
give  the  following  process. 

Take  chopped  straw,  or  saw-dust,  and  introduce  it  into  a 
mattrass ; pour  over  it  sulphuric  acid,  applying  at  the  same 
time  heat,  and  there  will  be  disengaged  sulphureous  acid  gas 
(vapor  of  sulphur)  which  may  be  combined  with  water  in  the 
apparatus. 

The  pieces  are  rolled  upon  the  reels,  and  are  drawn  through 
the  sulphureous  acid,  by  turning  them,  until  it  is  observed  that 
the  whiteness  is  sufficiently  bright.  They  are  then  taken  out 
and  left  to  drain  on  a bench  covered  with  cloth,  lest  they  should 
be  stained  in  consequence  of  the  decomposition  of  the  wood  by 
the  sulphureous  acid  ; they  are  next  washed  in  river  water, 
and  Spanish-white  is  employed,  if  it  should  be  judged  necessa-, 
ry.  This  operation  is  performed  by  passing  the  pieces  through 
a tub  of  clear  water,  in  which  about  eight  pounds  of  Spanish - 
white  has  been  dissolved.  To  obtain  a fine  whiteness,  the 
stuffs,  in  general,  are  twice  sulphered.  According  to  this  pro- 
cess, one  immersion  and  reeling  two  or  three  hours,  is  suffi- 
cient. Az’uring  or  bluing  is  performed  by  throwing  into  the 
Spanish  white  liquor,  a solution  of  one  part  of  Prussian  blue 
to  four  hundred  parts  of  water,  shaking  the  cloth  in  the  liquid, 
and  reeling  it  rapidly. 

The  operation  is  terminated  by  a slight  washing  with  soap, 


248 


SECRETS  IN  ARTS,  TRADES,  &c.  % 


to  give  softness  and  pliability  to  the  stuffs.  The  final  oper- 
ations of  drying,  stretching,  pressing  &c.  are  foreign  to  our 
present  su  ject. 

Bleaching  of  Silk. 

Silk  is  a semi-transparent  matter,  spun  by  a eater-pillar,  and 
formed  of  a substance  contained  in  its  body,  which  becomes 
hard  in  the  air.  This  insect  inhabits  warm  climates,  being  in- 
digenous in  Asia,  it  was  naturalized  in  Europe  about  the  time 
of  the  downfall  of  the  Roman  Empire. 

The  filaments  prepared  by  the  silk-worm  are  rolled  up  in  a 
cod  or  ball.  In  this  state,  in  which  we  find  it,  it  is  covered 
with  a yellow  varnish,  which  destroys  its  brilliancy  and  renders 
it  rough.  Silk,  by  chemical  analysis,  gives  carbonate  of  am- 
monia and  oil  ; water  at  a boiling  heat  produces  no  effect  upon 
it;  alkohoi  makes  it  experience  no  change  ; but  concentrated 
alkaline  leys  attack  and  dissolve  it. 

To  give  splender  to  silk,  it  must  be  freed  from  its  varnish. 
This  covering  is  soluble  in  alkaline  leys.  Silk  is  general- 
ly scoured  by  means  of  soap,  by  which  it  looses  one 
fourth  of  its  weight.  The  matter  disengaged  from  it  is  very 
fetid,  and  if  the  silk  be  not  rinsed  in  plenty  of  water,  putrid 
fermentation  will  take  place.  Even  when  the  best  soap  is 
used,  it  is  generally  suspected  that  it  injures  the  whiteness  of 
the  silk.  The  splendor  of  the  Chinese  silks  is  brighter  than 
that  of  the  European  ; and  the  Chinese  employ  no  soap  in  their 
operations.  A slightly  alkaline  ley  will  dissolve  the  varnish 
of  the  silk  without  using  soap,  and  this  has  also  been  effected 
by  the  action  of  boiling  water  at  a very  high  temperature. 

The  method  which  has  been  used  successfully  in  France,  is 
as  follows : 

Take  a very  weak  solution  of  caustic  soda,  and  fill  with  it 
the  boiler  of  the  apparatus  for  bleaching  with  steam.  Charge 
the  frames  with  skeins  of  raw  silk,  and  place  them  in  the  appa- 
ratus until  it  is  full ; then  close  the  door,  and  make  the  solution 
boil.  Having  continued  the  ebullition  for  twelve  hours,  slacken 
the  fire,  and  open  the  door  of  the  apparatus.  The  heat  of  the 
steam,  which  is  always  above  two  hundred  and  fifty  degrees 
will  have  been  sufficiemNto  free  the  silk  from  the  gum,  and  to 
scour  it.  Wash  the  skeins  in  warm  water,  and,  having  wrung 
them,  place  them  again  on  the  frames  in  the  apparatus,  to  un- 
dergo a second  boiling.  Then  wash  them  several  times  in 
water,  and  immerse  them  in  water  somewhat  soapy,  to  give 
them  a little  softness. 

Notwithstanding  the  whiteness  which  silk  acquires  by  these 
different  operations,  it  must  be  carried  to  a higher  degree  of 
splendor  by  exposing  it  to  the  action  of  sulphureous  acid  gas, 
in  a close  chamber,  or  by  immersing  it  in  sulphureous  acid>  as 
before  recommended  for  wool. 


249 


CHAP.  XVIII. 


Essays  on  Agriculture,  and  Rural  Economy. 

I.  Preparing  of  the  land  for  Wheat . 

In  the  winter  season,  carry  on  a sufficient  quantity  of  ma- 
nure ; and  as  soon  as  the  frost  is  out  of  the  ground,  plough  it 
over  smooth,  furrow  it,  and  plant  it  with  potatoes  in  hills,  leav- 
ing just  room  between  the  hills  to  plough  both  ways.  When 
they  are  grown  to  the  height  of  two  or  three  inches,  plough 
them  one  way,  turning  the  furrow  upon  the  hills  on  each  side* 
having  a person  to  follow  and  weed  them  out. 

About  the  end  of  June,  cross  plough  them,  turning  upon  the 
hill  again,  and  let  the  person  following  the  plough,  mould  the 
hills ; and  about  the  twentieth  of  August  you  will  find  that 
the  tops  die  ; then  pull  them,,  for  the  longer  they  remain  in  the 
earth  the  more  water  they  will  collect  in  their  substance. 

As  soon  as  the  potatoes  are  gathered,  turn  in  your  hogs,  and 
let  them  remain  there  till  the  beginning  of  October.  They  will 
by  this  time  have  torn  up,  and  mixed  the  ground,  better  than 
any  ploughing.  Then  harrow  the  ground  for  sowing  wheat. 

The  advantages  are,  that  the  potatoes  kill  the  weeds  and 
turf  ; and  the  hogs  by  rooting  and  turning  the  soil,  in  search 
of  potatoes,  effectually  destroy  all  kinds  of  vermin  which  have 
been  left  in  the  ground,  besides  a considerable  saving  in  their 
keeping. 

II.  Preparing  of  the  Seed  Wheat . 

Let  the  wheat  be  thrice  thoroughly  washed ; and  let  the 
water  drain  from  it,  after  the  third  washing.  Then  steep  it 
eighteen  hours,  in  brine  strong  enough  to  boat  an  egg,  and 
spread  it  on  a floor,  to  let  the  brine  run  off ; but  while  the 
wheat  is  yet  moist,  let  quick  lime  be  equally  sifted  over  it, 
stirring  it  very  well  with  a shovel,  and  continue  sifting  on  more 
lime,  until  the  wheat  be  equally  dusted  with  it,  in  the  propor- 
tion of  half  a gallon  of  lime  to  a bushel  of  wheat.  By  stirring 
it  well  with  a shovel,  the  wheat  will  soon  be  dry  and  fit  for 
sowing. 

The  produce  of  some  exceedingly  smutty  wheat  prepared  for 
sowing  in  the  above  method,  has  been  good,  clean,  well  filled 
grain. 


250  SECRETS  IN  ARTS,  TRADES,  kc, 

III.  On  the  culture  of  wheat, 

A more  beneficial  discovery  hasnot  been  made  in  agriculture, 
than  that  of  clover  being  an  infalible  preparative  to  a crop  of 
wheat.  It  has  seldom  been  known  to  fail  on  poor  land,  and  is 
particularly  advantageous  to  rich,  as  the  straw  will  be  strong, 
the  ear  large,  and  the  number  of  stems  from  a root  incredible. 
If  ever  a marvellous  crop  of  wheat  be  raised  on  very  rich  ground 
it  must  be  in  this  way;  for  rich  fallows  produce  a luxuriant 
tall  straw,  weak  at  the  root,  with  a small  ear  which  will  fall. 

In  proof  of  the  foregoing  observations,  let  reason  be  attend- 
ed to  ; clover  grass  affords  rest  to  land,  and  keeps  out  weeds  ; 
the  pasture  produces  feed  in  abundance  for  cattle  ; the  dung 
of  the  cattle,  with  the  vegetable  salts  contained  in  the  large  top 
root  and  heart  of  the  clover  afford  vivid  manure  for  wheat. 
One  other  advantage  of  this  mode  of  culture,  is,  that  the  root 
of  the  grain  growing  in  them,  the  water  drains  from  the  root, 
and  the  surface  of  the  ground  will  not  rise  with  the  frost,  as 
fallows  of  a fine  mould  are  apt  to  do — the  wheat,  therefore, 
must  stand  the  winter  much  the  best,  if  sowed  upon  a clover 
turf ; the  method  to  be  adopted  is  as  follows : 

In  the  September  of  the  second  summer  after  your  clover 
was  sowed,  pasture  it  close  to  the  ground,  and  turn  your  fur- 
rows over,  very  clean  and  even  ; but  before  the  two  last  fur- 
rows of  each  land  is  split,  take  a handfull  of  wheat,  and  drop 
along  in  each  furrow,  throwing  it  before  you  as  you  step  a- 
long,  and  then  split  the  two  furrows,  turning  them  on  the 
wheat ; if  this  be  not  done  the  sides  of  the  land  will  be  bare. 
The  same  day  it  is  ploughed,  sow  on  each  acre  three  pecks  of 
clean  seed-wheat,  broad-cast  ; after  it  is  sowed,  take  a roller 
and  run  over  the  land  the  same  way  it  is  ploughed.  When 
this  is  done,  harrow  it  over  two  or  three  times  the  same  way, 
until  the  seed  be  covered  ; but  by  no  means  harrow  across  the 
land,  or  furrows ; make  the  water  furrows  (if  need  be)  with 
the  spade,  and  turn  the  grass  side  of  the  sods  downwards. 

IV.  On  the  gathering  of  wheat . 

When  this  valuable  grain  has  attained  its  full  plumpness, 
and  begins  to  shew  its  ripening  colour,  it  should  be  reaped,  and 
laid  a few  days  with  the  ears  a little  elevated  to  harden,  before 
it  is  bound  up,  and  afterwards  stand  a week  or  ten  days  in 
shock,  which  will  be  the  means  of  its  proving  sweeter,  weigh- 
ing heavier,  and  yielding  a much  greater  proportion  of  flour, 
and  less  bran,  than  when  it  is  suffered  to  stand  on  the  ground 
till  the  ears  become  inverted,  and  the  corn  parched  and  shrivel- 
led ; but  this  is  tar  from  being  the  whole  of  the  evil ; for  the 
straw,  when  cut  in  a dry  and  brittle  state  is  not  so  valuable 


SECRETS  IN  ARTS,  TRADES,  he. 


251 


for  thatch,  fodder,  or  litter,  as  it  is,  when  cut  in  a greener  state, 
and  when  a brisk  wind  happens,  there  is  frequently  a loss  sus- 
tained by  one  third  of  the  crop, 

V.  On  fireparing  seed  Corn. 

Dissolve  saltpetre  in  water,  so  as  to  make  it  very  strong. 
Soak  your  seed  corn  therein,  until  it  becomes  swelled  ; then 
plant  it  in  the  usual  way,  taking  care  not  to  let  it  be  long  out 
of  the  brine  before  it  is  covered.  It  will  produce  three  times 
the  crop,  and  will  be  ripe  sooner,  than  the  same  sort  of  corn* 
planted  without  soaking,  on  ground  of  the  same  quality. 

VI.  Another  method. 

Go  through  your  field,  when  the  corn  first  begins  toripea, 
mark  all  such  large  and  fine  ears  as  are  turned  white,  and 
where  there  are -two  on  a stalk  ; when  thorough  ly  ripe,  gather 
them,  by  pulling  off  the  ear,  husk  and  all , nang  them  up 
where  no  wet  will  come  to  them,  and  let  them  thoroughly  dry. 
By  taking  the  first  corn  that  ripens,  where  there  are  two  ears 
on  a stalk,  for  seed,  you  will  have  your  crop  earlier,  by  ten 
days,  or  a fortnight,  the  following  year,  and  the  quantity  con- 
siderably encreased. 

VII.  Observations  on  increasing  the  quantity  of  In  - 

dian  Corn  by  selecting  the  seed  : communicated  by 

Mr.  John  Shepperd , of  Greenwich 3 Cumberland - 

County j Mew-Jersey. 

Having  heard  it  suggested,  that  Indian  corn  might  be  im- 
proved by  a careful  attention  to  plant  only  such  seed  as  is  ga- 
thered from  those  stalks  which  produce  two  ears,  I collected 
in  the  fall  of  1786,  a sufficient  quantity  of  such  ears  for  to 
plant  my  next  crop.  In  the  spring  of  1787,  I planted  this 
seed  ; and  was  well  pleased  to  find  my  crops  increased  much 
beyond  the  quantity  I had  been  accustomed  to.  In  the  first 
year  I estimated  the  encrease  at  near  or  quite  ten  bushels  per 
acre,  and  by  following  the  same  rule  in  saving  my  seed,  foF 
three  years,  my  crops  have  encreased  to  sixty  bushels  per  acre, 
and  I have  now  three  and  four  ears  upon  a stalk. 

VIII.  On  the  advantages  of  steeping  seed  Barley . 

The  advantages  of  steeping  seed  barley  is  made  known  in  a 
communication  from  Mr.  James  Chappie  to  the  Bath  Society* 
he  observes* 


252 


SECRETS  IN  ARTS,  TRADES,  Sec. 


The  last  spring  being  remarkably  dry,  I soaked  my  Barley  in 
the  black  water  taken  from  a reservoir  which  constantly  re- 
ceives the  draining  from  my  dung  heap  and  stables.  As  the 
light  corn  floated  on  the  top*  I skimmed  it  off,  and  let  the  rest 
stand  twenty  tour  hours.  On  taking  it  from  the  water,  I mix- 
ed the  seed  grain  with  a sufficient  quantity  of  sifted  wood- 
ashes  to  make  it  spread  regularly,  and  sowed  three  fields  with 
it.  I began  the  sixteenth,  and  finished  the  twenty-third  of  A- 
pril.  The  produce  was  sixty  bushels  per  acre,  of  good  clean 
barley,  without  any  small  or  green  corn.  No  person  in  this 
country  had  better  grain. 

I sowed  also  several  other  fields  with  the  same  seed,  dry, 
and  without  any  preparation  ; but  the  crop,  like  those  of  my 
neighbors,  was  very  poor,  not  more  than  twenty  bushels  per 
acre,  and  much  mixed  with  green  corn,  and  weeds,  when  har- 
vested. I also  sowed  some  of  the  seed,  dry,  on  one  ridge  in 
each  of  my  former  fields  ; but  the  produce  was  very  poor,  in 
comparison  with  the  other  part  of  the  field. 

IX.  On  the  adva?itage  of  fire  flaring  seed  Oats  with 

filaister  of  Paris— in  a letter  from  E.  Hand , to  S. 

Powell , Esq. 

Late  in  the  month  of  April,  having  a piece  of  ground  in  the 
vicinity  of  the  borough  of  Lancaster,  prepared  to  be  sown  with 
oats,  which  I suppose  would  take  sixteen  bushels  of  seed  ; the 
evening  before  it  was  sown,  I had  eight  bushels  put  into  a 
trough  and  covered  with  water*.  The  next  morning,  the  wa- 
ter was  drawn  off,  and  the  oats  laid  in  a heap  to  drain  for  half 
an  hour,  then  plaister  of  Paris,  in  powder,  was  thrown  on,  by 
small  quantities  at  a time,  and  mixed  with  the  oats,  till  they 
acquired  a sufficient  degree  of  dryness,  to  be  evenly  sown.  In 
the  process,  one  bushel  of  plaister  was  consumed.  The  seed 
thus  prepared,  and  dry  seed  from  the  same  original  heap,  were 
sown  on  alternate  lands  throughout  the  field.  The  whole 
came  up  together,  and  in  due  time,  and  no  difference  was  visi- 
ble for  seven  or  eight  days.  From  that  time  forward,  the  dis- 
tinction became  very  evident,  the  oats  on  the  lands  sown  with 
the  prepared  seed,  were  much  more  luxuriant,  and  of  a deeper 
green,  until  they  began  to  ripen.  On  the  second  of  Au- 
gust, they  were  cut,  being  then  perfectly  ripe,  while  those  on 
the  lands  sown  with  the  unprepared  seed,  were  yet  green,  the 
heads  much  smaller,  and  promissing  in  every  respect  a worse 
crop. 

The  produce  of  the  eight  bushels  of  prepared  seed  was  one 
hundred  and  twenty  two  bushels  and  a peck ; of  the  eight 
bushels  of  unprepared  seed,  ninety-six  bushels  ; the  former 


SECRETS  IN  ARTS,  TRADES,  &c, 


253 


yielding  an  increase  of  fifteen  and  a quarter  for  one,  or  thirty 
and  a half  bushels  to  the  acre  ; the  latter  only  twelve  for  one, 
or  twenty  four  bushels  to  the  acre.  The  produce  of  the  pre- 
pared seed  weighed  thirty  three  and  a half  pound  per  pushel ; 
that  of  the  unprepared,  only  thirty-two  and  a quarter  pounds. 
Thus  for  the  expence  of  one  bushel  of  plaister  I have  gained 
twenty -six  bushels  of  oats,  and  in  the  extra  weight,  equal  to 
four  and  a half  bushels  more. 

X.  On  the  culture  of  Oats . 

Of  oats  there  are  ten  species  that  are  known  in  England, 
the  names  of  which  are,  the  naked  oat,  or  pilcorn.  The  tall 
oat.  The  bearded  or  wild  oat.  The  rough,  downy  or  hairy 
oat.  The  yellow  oat.  The  meadow  or  yellow  leaved  oat. 
The  common  oat.  The  skegs  oat.  The  Tartarian  or  reed 
oat.  and  the  Frieseland  and  Poland  oats,  of  which  that 
called  the  sativa,  or  common  oats  is  most  generally  cultivated. 

This  species  thrives  on  almost  any  soil ; and,  being  extreme- 
ly productive  on  land  newly  broken  up,  it  is  eminently  adapt- 
ed to  most  parts  of  the  United  States.  It  is  divided  into  three 
varieties,  namely — 

1.  The  white  oats,  which  are  the  most  valuable,  and  require 
a soil  somewhat  drier  than  that  for  the  other  species  ; this  va- 
riety is  chiefly  cultivated  in  the  southern  counties  of  Britain. 

2.  The  black  oats,  which  are  principally  raised  in  Scotland 
and  the  nothern  counties  of  England.  For  feeding  cattle  they 
are  of  equal  quality  with  the  white  oats,  though  not  affording 
so  sweet  a meal  for  culinary  purposes  as  the  white  oats. 

3.  The  brown  or  red  oats,  produces  good  meal  ; ripens 
somewhat  earlier  than  either  of  the  two  preceding  varieties, 
and  does  not  shed  its  seed.  It  is  chiefly  cultivated  in  the  north- 
western parts  of  England,  for  the  feeding. 

All  these  varieties  are  propagated  by  seed  which  may  be 
sown  from  the  first  of  April,  till  the  middle  of  may,  in  the  pro- 
portion of  from  three  to  six  bushels  per  acre,  broad* cast. — 
It  is  some-times  sown  with  grass  seeds,  such  as  clover,  ray 
grass,  &c.  The  management  of  this  kind  of  grain,  does  not 
materially  differ  from  that  of  barley,  rye,  &c.  Oats  have  in 
some  instances,  been  both  dibbled,  and  drilled ; but  as  this 
method  has  been  attempted  but  by  few,  how  it  may  answer 
has  not  been  fully  ascertained  ; there  is  but  little  doubt*  how- 
ever, but  that  either  method,  if  properly  conducted,  would  be 
preferable  to  the  broad-cast  sowing. 

The  last  mentioned  species  or  that  called  the  Sativa  or  com- 
mon oats  is  raised  on  account  of  its  ferinaceous  properties. 
The  grain  is  given  to  horses,  for  which  it  affords  a very  strength- 
ening food  ; and,  before  barley  came  into  general  cultivation,, 
it  was  converted  into  malt. 


254  SECRETS  IN  ARTS,  TRADES,  &c. 

The  meal  is  made  into  cakes,  biscuit,  &c.  or  boiled  into  a 
kind  of  pottage.  Its  straw  is  also,  usefully  employed  in  feed- 
ing cattle,  when  mixed  with  potatoes. 

XL  On  the  culture  of  Potatoes. 

Potatoes  require  a rich  loam  not  too  moist.  Wet  land  pro- 
duces  too  much  top,  and  watry  fruit,  strong  to  the  taste,  and 
not  good  to  keep  through  the  winter.  Very  dry  land  produ- 
ces a small  crop,  and  knotty  fruit.  Land  that  is  apt  to  brake 
should  also  be  avoided. 

For  this  crop,  the  earth  should  be  well  ploughed  and  kept 
clear  of  weeds,  and  should  not  he  shaded.  The  principle  er- 
ror, however,  in  cultivating  potatoes,  is  too  much  hilling  ; if 
planted  in  a suitable  soil,  they  will  always  bed  themselves  at 
that  depth  most  suitable  to  their  growth,  which  is  about  four 
inches.  If  you  are  necessitated  to  plant  them  upon  a hard  bot- 
tom a little  hilling  may  be  useful.  It  has,  no  doubt,  been  ob- 
served by  most  people  who  cultivate  potatoes,  that  if  the  tops 
are  partly  covered  with  earth,  small  potatoes  will  grow  upon 
them,  this  hinders  the  growth  of  the  first  crop.  We  conclude 
with  a short  remark  relative  to  the  time  of  gathering  this  crop. 

Every  production  of  the  earth  has  its  maturity.  The  sign 
of  ripeness  in  this  fruit,  is,  the  fading  of  the  leaf  and  shrink- 
ing of  the  stalk.  If  gathered  before  they  are  ripe  they  will  be 
unpleasant  to  the  taste,  and  not  keep  so  well  as  if  suffered  to 
grow  longer. 

XII.  To  encrease  your  variety  of  Potatoes,  and  obtain 
excellent  kinds . 

Take  of  the  balls  when  ripe  in  Autum,  open  them  and  dry 
the  seed  in  the  sun,  so  that  they  may  be  preserved  through  the 
winter  ; plant  these  in  good  mellow  ground  in  the  spring,  and 
keep  them  clear  of  weeds  &c.  The  first  years  produce  will 
be  small,  take  of  the  largest  of  these,  and  the  best  kinds,  to 
plant  the  following  year,  and  your  potatoes  will,  be  much  im- 
proved. 

XIII.  To  fire  serve  Turnips  from  insects. 

1.  To  each  quart  of  turnip-seed,  add  one  oupce  of  brimstone 
finely  powdered,  put  both  into  a bottle,  large  enough  to  af- 
ford room  to  shake  them  well  together  every  day,  for  four  or 
five  days,  previous  to  sowing,  keeping  the  bottle  well  corked. 

2.  Take  such  a quantity  of  elder  leaves,  as,  when  bruised?  will 


SECRETS  IN  ARTS,  TRADES,  &c. 


2ob 

yield  juice  sufficient  to  cover  the  turnip -seed  you  intend  to 
sow,  in  which  let  it  soak  about  twelve  hours ; the  next  day 
mix  it  with  the  bruised  leaves,  and  sow  all  together. 

Turnip-seed  is  generally  covered  with  a brush  harrow;  take 
elder  bushes  for  this  purpose  ; if  the  berries  are  on,  the 
effect  will  be  encreased.  If  notwithstanding  these  precautions 
the  fly  should  attack  the  young  plant,  draw  elder  bushes  gently 
over  them. 

Turnips  sowed  upon  ground  where  a crop  of  flax  has  been 
taken  off,  are  not  so  likely  to  be  injured  by  the  fly ; it  is  also, 
well  to  sow  turnip  while  it  rains,  they  do  not  require  to  be 
harrowed  in,  and  grow  so  rapidly,  as  soon  to  get  beyond  the 
power  of  the  fly.  •« 

XIV.  On  the  culture  of  Turnips . Another  method . 

Turnips  for  fall  and  winter  use,  are  generally  sown  the  last 
of  July.  I have  been  long  apprehensive  that  this  sowing  is  too 
early.  The  weather  at  this  season  of  the  year,  is  generally 
very  hot,  and  very  dry  ; and  droughts  has  a direct  tendency  to 
dwarf  and  spoil  a field  of  young  turnips ; the  black  fly  also,  a 
natural  enemy  of  the  turnip,  is  at  this  period  very  voracious, 
and  the  crop  is  too  often  destroyed,  or  rendered  unprofitable 
from  one  or  other  of  these  causes. 

With  a view  to  remedy  these  evils,  I sowed  my  turnips,  the 
last  year,  very  late  in  August.  My  neighbors  laughed  at  me, 
and  said  I should  not  have  a single  mess  ; I had  however,  more 
and  better  turnips  than  any  of  them.  Encouraged  by  this  suc- 
cess, I sowed  this  year,  on  the  25th  of  August,  a small  piece 
of  ground,  eight  rods  only,  with  turnips.  They  came  tip  wtil 
and  not  a fly  touched  them.  When  they  had  four  or  five  leaves 
I directed  one  of  my  men  to  weed,  and  thin  them,  so  as  to 
have  them  stand  ten  or  twelve  inches  apart.  The  ground  was 
afterwards  slightly  stirred  with  a garden  hoe.  The  leaves  grew 
rapidly — covered  the  ground— and  prevented  the  further  growth 
of  weeds.  On  the  1 ith  November,  I pulled  the  turnips,  trim- 
med and  measured  them,  and  had  on  the  eight  rods  of  ground 
(the  twentieth  part  of  an  acre  only)  forty-five  bushels  of  as 
large  and  well  flavoured  turnips  as  I ever  saw.  This  produce 
is  at  the  rate  of  nine  hundred  bushels  per  acre.  The  soil  is  a 
sandy  loam,  in  good  heart,  but  by  no  means  in  high  tilth. 

I sowed  two  other  small  pieces  of  ground,  the  one  on  the 
first,  the  other  on  the  eighth  of  September.  Neither  of  these 
yielded  like  the  one  sowed  on  the  twenty-fifth  of  August ; but 
each  of  them  produced  much  larger,  and  better  turnips,  than 
any  I have  seen,  that  were  sowed  at  the  usual  time. 

■ I attribute  my  ^access  altogether  to  the  late  sowing ; the 
heat  is  then  less  intense — the  rain  more  frequent— the  dews 
copious- -the  fly  harmless— and  the  crop  abundant. 


' 2o<*  SECRETS  IN  ARTS,  TRADES,  &c. 

XV.  On  the  culture  of  Carrots. 

It  is  not  long  since  carrots  were  first  raised  in  Europe,  for 
the  use  of  cattle.  Since  the  introduction,  however,  of  this 
culture,  it  has  rapidly  spread,  and  is  now  universally  attended 
to  by  the  graziers  there. 

In  rich,  loamy  and  deep  soils  the  product  of  this  valuable 
root  has  been  known  to  be  four  and  even  five  hundred  bushels 
per  acre  ; this  however,  only  where  great  attention  was  paid 
to  them.  We  must  not,  estimate  them  at  this  rate  in  field  cul- 
tivation, where  the  labour  and  expence  are  comparitively  small. 
In  common  fields,  however,  with  a common  proportion  of  ma- 
nure and  labour,  taking  the  diversity  of  soils,  and  difference  of 
seasons,  the  avarage  produce  of  an  acre  would  be  two  hundred 
bushels.  No  kind  of  husbandry  can  be  practiced  that  will  keep 
so  many  cattle  upon  a given  quantity  of  land,  and  at  so  little 
expence.  Cattle  of  all  kinds  are  exceedingly  fond  of  them, 
and  prefer  them  to  the  best  hay.  Swine  will  eat  them  greedily, 
and  fatten  upon  them.  They  increase  the  milk  of  cows  ; and 
even  horses  keep  in  as  good  condition  upon  them,  as  upon 
grain. 

For  their  cultivation  a rich,  loamy  and  deep  soil,  rather  dry, 
than  wet,  should  be  chosen.  Let  this  be  well  ploughed,  and 
cross-ploughed,  and  made  level  with  a harrow,  then  in  trenches 
drawn  about  two  feet  apart,  the  seed  is  to  be  sown.  They  will 
require  one  or  two  ploughings  and  hoeings  in  the  months  of 
June  and  July,  and  about  the  first  of  August.  From  ten  to 
twelve  hundred  cabbage  plants  for  each  acre,  may  be  trans- 
planted between  the  rows  of  carrots  ; the  necessary  hoeing  for 
these  will  keep  the  carrots  in  good  order  until  it  is  time  to  ga- 
ther the  whole. 

XVI.  European  method  of  cultivating  Hops. 

Hop  plantations  should  always  be  upon  new  land,  if  you 
want  to  plant  in  the  spring,  your  ground  should  he  prepared  in 
the  preceeding  autum,  by  being  well  plowed,  and  laid  even. 

Some  plant  hops  in  March  and  April,  but  the  most  expe- 
rienced prefer  October,  which  season,  however  we,  would  ob- 
serve, is  not  so  proper  in  America,  as  in  Europe  ; most  trees 
plants,  c.  that,  require  transplanting,  do  better,  if  moved  in 
the  spring,  than  if  moved  in  the  fall,  in  the  United  States.  The 
ground  being  prepared,  let  the  hills  be  marked  out,  they  should 
be  about  eight  feet  apart  each  way,  the  holes  for  planting  them 
should  be  from  eight  to  ten  inches  deep,  and  a foot  square.  The 
largest  plants  are  to  be  chosen,  they  should  be  about  nine  in- 
ches long,  and  have  three  or  four  joints  or  buds  to  each  ; set 
one  in  each  corner  of  the  holes,  and  if  planted  in  October,  cover 


SBC  RETS  IN  ARTS,  TRADES,  &c. 


2sr 

them  an  inch  over  the  top,  but  if  planted  in  the  spring,  when 
they  have  shot  from  the  joints,  they  must  not  be  buried  ; after 
this  the  ground  must  be  carefully  kept  clear  of  weeds. 

Dressing, 

This  is  preparing  the  ground,  in  the  autumn,  winter,  and 
spring  for  making  a good  summer  crop.  In  doing  this, the  hills 
upon  which  the  plant  stand,  must  be  all  pulled  down,  and  un~ 
dermined  on  every  side,  till  the  spade  (or  hoe)  comes  near  the 
principal  root ; then  shake  off,  or  remove  with  the  hand,  the 
loose  mould  from  the  upper  or  loose  roots,  that  you  may  see 
where  the  new  roots  grow  out  of  the  old  sets.  The  old  sets 
are  to  be  carefully  preserved,  but  the  other  roots  may  be  cast 
away.  Whatever  may  be  the  time  that  the  hills  are  pulled 
down,  the  roots  must  not  be  cut  till  March.  When  your  hops 
are  dressed  for  the  first  time  after  planting,  all  the  roots  are  to 
be  cut  away  that  grew  the  year  before,  and  the  sets  are  to  be 
cut  off  within  one  inch  of  the  old  setting ; and  every  year  af- 
ter, they  must  be  cut  as  close  as  may  be  to  the  old  roots,  or 
settings.  Observe,  however,  that  those  roots  which  grow 
downwards  are  not  to  be  injured,  those  only,  which  run  hori- 
zontally are  to  be  cut.  The  old  roots  and  the  young  ones 
may  be  easily  distinguished,  as  the  old  ones  are  always  red,  and 
the  young  ones  white.  Wild  hops,  should  by  no  means  be 
permitted  to  grow  in  your  field  ; if  any  get  there,  mark  the 
hill,  when  gathering  your  hops,  destroy  such  hills  when  dress- 
ing the  ground,  and  replant  it.  When  you  cut  and  dress  your 
hop  field  in  the  spring,  your  land  should  be  manured  with  the 
richest  composition  you  can  make.  The  hills  when  first  made 
should  not  be  too  high,  lest  they  hinder  the  young  shoots  ; at 
the  second  hilling  they  may  be  finished.  Two  or  more  plough- 
ings  is  required  during  the  months  of  May  and  June,  which 
completes  their  dressing. 

Gathering  and  drying. 

Hops  blow  in  July,  bell  in  August,  and  are  ripe  by  the  first 
of  September.  When  they  begin  to  change  colour,  are  easily 
pulled  to  pieces,  and  their  seeds  look  brown  within  them,  they 
are  ripe,  and  are  then  to  be  gathered  as  soon  as  possible.  If 
the  weather  be  fine,  the  vines  may  be  cut,  and  the  poles  left 
standing,  for  one,  or  two  days,  in  which  time  the  hops  will  be 
nearly  dried  ; it  is,  however,  preferable  to  dry  them  in  the 
shade,  or  not  exposed  to  the  sun,  and  dew  ; they  should, 
therefore,  be  picked  off,  and  spread  thin  upon  floors,  and  be 
frequently  moved  and  stirred  about,  that  they  may  quickly, 
and  evenly  dry.  In  the  damp  and  humid  atmosphere  of  Eng- 

Z 


SECRETS  IN  ARTS,  TRADES,  See. 


25  S 

land,  it  is  almost  always  necessary  to  dry  them  in  kilns,  this 
may  be  dispensed  with  in  America,  if  the  season  is  any  way 
favourable  : however,  care  should  be  taken  to  dry  the  hops  as 
fast  as  they  are  picked  ; for,  in  lying  undried,  they  are  apt  to 
heat,  and  change  colour,  very  quickly.  The  drying  of  hops 
is,  certainly,  one  of  the  most  material  part  of  their  manufac- 
ture, for,  if  they  be  ill  dried,  they  loose  all  their  agreeable  fla- 
vour. 

Bagging  them . 

The  last  thing  done  to  hops  is  putting  them  up  in  bags  of 
coarse  cloth  for  carriage.  When  hops  have  been  picked  and 
dried  on  the  cast,  or  tin  floor,  they  are  so  brittle  that  they 
would  break  to  pieces,  and  be  spoiled,  if  they  were  immediate- 
ly to  be  put  up  ; they  are  therefore  to  lie  together  for  about 
three  weeks,  till  they  become  tough,  or  if  covered  from  the 
air,  with  blankets,  in  a heap,  they  may  be  bagged  sooner. 
The  manner  of  bagging  them  is  as  follows  : A hole  is  made 
through  an  upper  floor,  so  large,  as  that  a man  can  conveni- 
ently go  up  and  down  in  it ; then  a hoop  is  fitted  to  the  mouth 
of  the  bag,  and  so  firmly  sewed  on,  that  it  cannot  be  torn  off, 
the  bag  is  then  let  down  through  the  hole  ; the  hoop  remain- 
ing above,  prevents  the  bag  from  being  quite  pulled  through, 
as  the  hoop  is  larger  than  the  hole.  A few  hops  are  first  thrown 
into  the  bag,  and  taken  up  into  ea:h  corner,  and  tied,  making 
a sort  of  tassel,  or  handle  by  which  the  bag  is  easier  handled. 
When  this  is  done,  one  man  must  go  down  into  the  bag,  and, 
while  another  casts  in  the  hops,  he  must  tread  them  down  e- 
qually  every  way  with  his  feet  ; and  when  the  bag  is  in  this 
manner  filled,  it  is  ripped  from  the  hoop,  and  sewed  up,  leav- 
ing two  tassels  at  the  corners  of  the  top,  same  as  at  the  bot- 
tom. A bag  of  hops  so  prepared,  may  be  kept  for  several 
years, 

XVII.  Qn  the  culture  of  Flax. 

A skilful  flax-raiser  always  prefers  a free,  open,  deep  loam, 
and  grounds  that  produced  the  preceding  year  a good  crop  of 
turnips,  cabbage,  potatoes,  barley,  or  broad  clover  ; or  has 
been  formerly  laid  down  rich,  and  kept  for  some  years  in  pas- 
ture. 

A clay  soil,  manured  with  ashes,  will  answer  well  for  flax, 
as  well  as  soils  of  a lighter  quality  ; provided  it  be  brought  to 
a proper  mould,  by  being  filled  after  harvest,  to  expose  it  to 
the  winter  frost ; and  by  repeated  ploughings  in  the  spring,  to 
make  the  ground  fine.  A little  old  stable  dung,  or  that  of  pi- 
geons, or  sheep,  may  be  spread  upon  the  ground  immediately 
before  sowing. 


SECRETS  IN  ARTS,  TRADES,  259 

Ground  enriched  with  shell,  or  other  marls,  will  answer 
well  for  flax,  if  the  marl  has  been  mixed  with  the  soil  for  some 
time. 

In  dry  soils,  the  broader  and  more  level  the  ridges  are  laid, 
the  better ; as,  by  that  means,  the  natural  moisture  will  be 
longer  retained,  and  the  crop  rendered  more  equal  and  uniform; 
a great  advantage  to  crops  of  flax. 

All  new  grounds,  or  such  as  have  lain  long  in  grass  or  pas- 
ture, produce  clear  crops  of  strong  flax  ; but  ought  to  be 
ploughed  shallow,  and  the  furrow  laid  flat.  After  ploughing, 
a heavy  roller  should  be  used,  to  press  the  sod  smooth,  and 
close  to  the  ground.  This  will  make  the  grass  rot  the  sooner. 

Flax  seed  ought  never  to  be  sown  on  grounds  either  too  wet 
or  dry,  but  on  such  as  retain  a natural  moisture  ; such  grounds 
as  are  inclined  to  weeds,  ought  to  be  avoided,  unless  prepared 
by  a careful  summer  fallow,  or  by  crops  of  turnips,  cabbage, 
or  potatoes. 

Before  sowing,  the  bulky  clods  should  be  broken  and  stones, 
&c.  that  will  hinder  the  growth  of  flax,  be  removed. 

Choke  of  md* 

The  brighter  in  colour,  and  heavier  the  seed  is,  the  better  ; 
that  which  appears,  when  bruised,  of  a light  or  yellowish  green 
and  fresh  in  the  heart,  oily,  and  sweet  to  the  taste  and  smell? 
may  be  depended  upon.  Seed  should  be  repeatedly  passed 
through  a screen,  that  there  may  not  be  left  in  it  any  vine- 
seed,  or  light  defective  flax-seed. 

Of  sowing  Un-seed* 

The  quantity  of  linseed  sown,  should  be  proportioned  to 
the  condition  of  the  soil ; for  if  the  ground  be  in  good  condi- 
tion and  the  seed  be  sown  thick,  the  crop  will  be  in  danger  of 
falling,  before  it  is  ready  for  pulling.  On  the  generality  of 
soils,  about  two  bushels  of  seed  is  required  to  an  acre  ; the 
time  for  sowing  is  from  the  middle  of  March  to  the  end  of  A- 
pril,  as  the  ground  and  season  answer. 

It  ought  always  to  be  sown  on  a dry  bed,  and  if  the  soil  be 
light,  it  should  be  rolled  ; especially  if  grass  seeds  are  sown  a- 
long  with  it.  If  sown  on  grass  ground,  ploughed  shallow,  it 
cannot  be  harrowed,  even  length  -ways,  a harrow  would  tear  up 
the  sods.  A heavy  brush  is  best. 

Of  weeding  flax* 

If  the  seed  is  clean,  and  sowed  on  grass  ground,  all  the  trou- 
ble and  expence  of  weeding  may  be  avoided ; should  it  how* 


260 


SECRETS  IN  ARTS,  TRADES,  &e. 

ever,  be  necessary,  it  ought  to  be  done,  when  the  flax  is  about 
four  inches  high  ; if  longer  deferred,  the  weeders  will  so  much 
break  and  crook  the  stalks,  that  they  will  never,  perhaps,  re- 
cover their  straitness  again,  and  flax  that  grows  crooked  is  very 
liable  to  be  injured  in  the  rippling  and  swingling. 

If  there  is  an  appearance  of  a settled  drowth,  weeding  should 
be  omitted,  it  is  then  injurious. 

Weeds  when  pulled,  should  be  carried  off  the  field,  if  left, 
they  often  take  root  again,  and  obstruct  the  growth  of  the 
flax. 

As  young  and  unskilful  persons,  frequently  pull  up  and  spoil 
the  fiax,  while  weeding,  they  should  not  weed  alone,  but  with 
experienced  persons,  and  all  care  should  be  taken,  not  to  tread 
down  and  injure  the  flax. 

Of  pulling  fax* 

If  it  is  intended  to  save  both  the  flax  and  the  seed,  the  pul- 
ling should  not  begin  till  the  stalk  becomes  yellow,  almost  all 
the  leaves  are  fallen,  and  the  balls  turned  so  sharp,  that:  they 
will  stick  to  the  finger,  when  pressed  upon  their  points ; also 
one  of  the  lower  balls,  cut  across  the  grain,  appears  full  of  seed 
well  formed,  and  firm.  But  if  the  stalk  is  small,  with  few  balls 
upon  it,  which  is  a sign  that  the  flax  is  fine,  it  ought  to  be  pul- 
led when  the  stalk  first  begins  to  grow  yellow,  when  only  the 
undermost  lea  es  fall,  before  the  bloom  is  quite  over,  before 
the  balls  turn  sharp  pointed,  and  when  one  of  the  balls,  cut  a- 
cross  the  seed,  appears  soft  and  watry.  It  is  a rule  with  per- 
sons of  skill,  to  follow  this  last  method,  when  they  think 
that  about  eight  hanks  or  more,  may  be  spun  from  a pound. 

When  flax  has  fallen,  such  as  lies  ought  to  be  immediately 
pulled,  otherwise  it  will  rot ; and  that  being  pulled,  the  rest 
of  the  crop  will  receive  the  more  air,  and  be  less  apt  to  fall. 

When  parts  of  the  same  field  grow  unequally,  so  that  some 
is  ready  for  pulling  before  other,  that  which  is  ready  should  be 
pulled,  and  the  rest  be  suffered  to  stand  till  fit. 

The  flax  raiser  ought  to  be  at  great  pains  to  pull,  and  keep 
by  itself,  each  different  kind  of  lint;  what  is  long  and  fine,  by 
itself ; long  and  coarse,  by  itself ; short  and  fine,  by  itself ; and 
short  and  coarse,  by  itself  ; and,  in  like  manner,  every  other 
kind  by  itself  ; for  if  the  different  kinds  are  not  thus  kept  sepe- 
rate,  the  flax  will  be  much  damaged  in  the  watering,  and  other 
succeeding  operations. 

While  pulling  and  sorting  the  flax,  the  weeds  ought  to  be 
picked  out,  otherwise  they  will  hurt  the  flax  in  the  opera- 
tions of  watering  and  dressing  ; and  what  is  commonly  called 
under-growth,  may  be  thrown  away  as  useless. 

Few  persons  that  have  seen  flax  pulled,  are  ignorant  of  the. 


SECRETS  IN  ARTS,  TRADES,  &c. 


261 


method  of  laying  it  in  handsfull  across  each  other,  upon  bands 
composed  of  some  of  the  stalks.  Laying  handsfull  in  this  way, 
admit  fresh  air,  and  keep  them  seperate,  and  ready  for  the  rip- 
pier. 

Process  after  pulling  the  flax9  and  before  rippling  it . 

If  the  flax  is  not  of  the  finest  kind,  the  cross  handsfull,  after 
lying  twenty-four  hours,  as  above  described,  should  be  turned 
upon  the  band  ; and,  after  lying  other  twenty-four  hours, 
should  be  bound  up  in  sheaves,  and  stacked.  If  the  weather 
is  dry,  in  about  a fortnight’s  time,  it  will  be  ready  for  rippling, 
and  may  be  removed  to  the  barn.  Rut  if  the  flax  is  fine,  it 
should  be  put  into  stacks,  in  about  twelve  hours  after  it  is  pul- 
led, and  in  two  or  three  days  it  may  be  rippled. 

Keeping  the  flax  unwatered  till  the  next  spring,  is  attended 
with  many  bad  consequences.  For,  when  too  much  dryed  by 
long  keeping,  it  is  not  so  easily,  nor  so  safely  watered  9 the 
quality  of  the  flax  is  harsher  and  coarser  ; it  is  subject  to  dan- 
ger from  vermin,  and  other  accidents,  during  the  winter  ; the 
water  in  the  spring,  or  beginning  of  summer,  is  not  so  soft  and 
warm,  as  in  harvest,  and  near  a year  is  lost,  of  the  use  of  the 
lint,  by  the  practice  of  keeping  it  over  the  winter. 

Of  rippling  flax . 

The  seed  ought  by  all  means  to  be  seperated  from  the  flax 
before  watering,  for  if  put  into  the  water  along  with  the  flax, 
it  is  apt  to  breed  vermin,  and  discolour  the  flax.  The  seed  is 
also  worth  saving  as  feed  for  horses  and  cattle,  when  not  ripe 
enough  for  sowing. 

When  the  seed  is  ripe  enough  for  sowing  and  intended  to 
be  saved  for  that  use,  it  should  be  rippled  within  doors,  for 
rain  and  damp  will  discouler  it,  and  render  it  unfit  for  sowing. 

The  handsfull  for  rippling  should  not  be  large,  as  that  en- 
dangers the  lint  in  going  through  the  comb.  After  rippling, 
the  flax  raiser  will  see  that  he  is  able  to  assort  each  size  and 
quality  of  the  flax  more  exactly  than  he  could  do  before. 

Of  ^winnowing  the  seed . 

The  balls,  after  rippling,  should  be  well  threshed  with  flails, 
or  in  some  other  way  broken,  and  then  passed  through  a riddle 
to  take  out  the  ends  of  the  flax,  that  have  broken  off  in  rip- 
pling, After  this  the  whole  should  pass  through  fanners,  and 
different  seives,  to  clear  the  seed  as  much  as  possible  from  bro- 
ken husk’s,  dust,  weak  seed,  &c.  Being  thus  cleaned,  it 
should  be  carried  to  a free-aired  loft,  and  spread  thin,  and  oft-. 


262 


SECRETS  IN  ARTS,  TRADES,  &c. 


en  turned  for  some  time,  to  prevent  it  from  heating  ; and  as 
the  seed  dries,  it  may  be  laid  up  thicker,  and  seldomer  turned, 
till  at  last  it  is  fit  for  the  market  or  for  sowing. 

Management  of  the  fax,  after  rippling,  and  before  watering . 

Rushes  should  be  pulled,  and  dried  during  the  summer,  for 
tying  the  handsful  of  flax  for  the  water.  They  save  flax  ; they 
do  not  so  easily  rot  in  the  water,  and  may  be  dried  for  next 
year. 

The  flax  from  the  rippling  comb,  being  properly  assorted, 
as  before  mentioned,  should  be  put  up  in  bundles,  not  larger 
than  a man  can  grasp  with  both  his  hands,  and  tied  slack  with 
rushes.  Should  the  flax  be  in  the  least  bent,  or  crooked,  by 
having  stood  in  the  field,  it  must  be  carefully  straightened  with 
ones  hands  and  knees,  and  laid  even  together  in  a mow,  in  a 
shade  or  barn.  The  mow  ought  to  be  raised  regularly  one 
row  upon  another,  and  be  pressed  dowm  with  logs  or  boards, 
and  a sufficient  weight  above  them.  In  this  situation  it  should 
remain  from  twelve  to  twenty  four  hours,  according  as  the  flax 
is  dry  or  damp.  This  laying,  and  compressing  of  the  flax  to- 
gether, mellows  it  also,  and  prepares  it  the  better  for  watering. 

Of  watering  flax . 

Running  streams,  and  large  lakes  are  not  suitable  for  water- 
ing flax,  they  waste  the  lint,  and  sometimes  carry  the  flax  away; 
canals  are  most  suitable.  They  should,  if  possible,  be  dug  in 
clay  ground,  as  that  ground  retains  the  water  best ; but  if  a 
firm  retentive  soil  cannot  be  found,  the  bottom  and  sides  of 
the  cannal  may  be  lined  with  clay,  or  instead  of  linning  the 
sides  with  clay,  a ditch  may  be  dug  on  each  side  of  the  canal, 
and  filled  with  clay,  which  will  prevent  extraneous  water  from 
entering,  and  the  water  within  from  running  off. 

A canal  sixty  feet  long,  seven  feet  broad,  and  three  feet  deep, 
will  generally  water  the  growth  of  an  acre  of  flax.  It  ought, 
if  possible,  to  be  filled  with  fresh  soft  water  from  a river  or 
brook,  and  exposed  to  the  sun,  a sufficient  time  to  give  it  the 
necessary  warmth,  which  is  known  by  small  plants  rising  and 
numbers  of  insects  generating  in  it,  and  bubbles  of  air  rising  on 
the  surface.  Should  no  such  signs  appear,  the  water  must  not 
be  warm  enough,  or  is  otherwise  unfit  for  flax. 

Water  from  coal,  or  iron,  is  very  bad  for  flax.  A little  of 
the  powder  of  galls  thrown  into  a glass  of  water,  will  imme- 
diately discover  if  it  comes  from  iron,  by  turning  it  a dark  co- 
lour, more  or  less  tinged,  in  proportion  to  the  quantity  of  that 
mineral  it  contains. 

The  canal  ought  not  to  be  under  any  shade ; as  this,  besides 


SECRETS  IN  ARTS,  T RADES,  &c. 


263 


preventing  the  sun  from  sofetning  the  water,  would  make  part 
of  the  canal  cooler  than  other  parts,  and  by  that  means  water 
the  flax  unequally. 

The  sooner  flax  is  watered  in  the  same  season,  in  which  it  is 
pulled,  the  better  ; in  the  middle  states,  however  the  water  will 
be  warm  enough  to  rot  flax,  or  hemp,  until  October. 

The  small  bundles,  or  sheaves  of  flax,  before  described, 
should  be  laid  into  the  canal,  in  rows  across  it ; the  first  row 
with  the  tops  leaning  upon  the  end  of  the  canal,  about  a foot 
from  the  bottom,  and  the  root  ends  sloping  downwards;  the 
top  ends  of  the  second  row,  overlapping  the  bands  of  the  first 
row  ; and  so  on  till  the  canal  be  filled.  The  top  ends  require 
the  warmest  water,  and  are,  therefore  to  be  put  uppermost 

The  whole  of  the  flax  in  the  canal  should  be  kept  under  wa- 
ter ; this  may  be  done  with  poles  and  weights  ; it  should  not, 
however,  be  pressed  down  so  hard  as  to  prevent  the  water  from 
freely  penetrating  through  all  the  flax. 

The  flax,  while  in  the  water,  should  be  carefully  covered 
from  the  sun  ; it  will  otherwise  be  much  discoulered. 

Soft  water,  in  warm  weather  will  rot  flax  in  four  days;  some- 
times it  will  require,  six,  eight,  or  ten  days  ; therefore  some 
other  rule  is  required  to  know  when  it  is  sufficiently  rotted,, 
It  is  observed  that  flax,  while  rotting  in  a canal,  undergoes  a 
fermentation,  that  while  fermenting,  it  continues  to  float,  or 
bear  up  under  the  weights,  and  that  when  the  fermentation  is 
over,  it  will  sink  to  the  bottom,  and  should  then  be  drawn  out, 
and  spread  on  the  ground  ; but  previous  to  taking  it  out,  it 
should  be  washed  clean,  in  the  manner  hereafter  to  be  des- 
cribed. 

Great  care  should  be  taken  that  no  part  is  overdone  ; the 
coarsest  is  soonest  done  ; if  different  kinds  be  putin  together, 
one  kind  will  be  watered,  before  the  rest  is  sufficiently  rotted. 

The  same  water,  should  not  by  any  means,  have  two  rot- 
tings  of  flax  put  into  it,  indeed,  could  the  water  be  changed 
several  times  for  each  rotting,  it  would  be  an  advantage,  pro- 
vided the  fresh  supply  of  water  was  let  upon  the  flax  quite 
warm,  the  lint  would  be  of  a better  colour,  and  require  less 
bleeching,  when  made  into  cloth. 

From  the  preceding  description  of  the  canal,  and  the  mam 
ner  of  rotting  flax  in  it,  it  will  be  seen  that  an  extra  canal,  or  a 
pond  above  will  be  of  immence  advantage.  The  shape  and 
size  of  the  canal  or  pond  above,  is  immaterial,  provided  it  is 
sufficiently  large  to  contain  water  enough  to  fill  the  lower  ca- 
nal, and  open  to  the  sun,  that  the  water  may  be  warmed. 
From  this  canal  the  lower  one  can  be  filled  as  often  as  it  is 
thought  necessary  to  change  the  water,  immediately  before 
taking  the  flax  out,  clean  water  should  be  let  in,  and  as  the 
small  bundles  of  flax  are  taken  up,  they  should  be  gently  rin- 


264 


SECRETS  IN  ARTS,  TRABES,  &c. 


«ed,  and  as  the  lint  is  then  tender,  and  the  bundles  slackly  tyed, 
it  cannot  be  too  carefully  handled.  When  letting  water  into 
your  canal,  it  should  not  run  in  a swift  stream,  directly  upon 
any  part  of  the  flax  ; it  would  injure  that  that  it  run  upon,  es- 
pecially if  nearly  rotted. 

When  changing  the  water  upon  flax,  that  which  is  let  in, 
should  be  at  least  as  warm  as  that  which  is  let  out,  otherwise  it 
16  apt  to  stop  the  fermentation,  and  is  attended  with  other  bad 
consequences. 

As  many  successive  rottings  of  flax  can  be  watered  in  the 
same  season,  in  one  canal ; those  who  raise  only  from  five  to 
ten  acres  of  flax  will  not  need  a canal  more  than  a third  or  a 
quarter  of  the  size  above  mentioned,  and  could  the  sides  and 
bottom  of  it  be  lined  with  strips  of  boards,  or  lath,  so  as  to  pre- 
vent the  flax  touching  the  ground,  it  would  be  still  cleaner,  and 
would  rot  more  evenly.  The  expence  of  lining  a small  canal 
would  be  but  trifling  in  any  part  of  the  United  States. 

A canal  once  well  made,  will  last  for  many  years,  and  cer- 
tainly is  to  be  preferred  to  rotting  flax  on  the  grass. 

On  the  margin  of  your  pond,  or  canal,  should  be  placed  an 
inclining  platform,  or  table  made  of  smooth  boards,  on  which 
fo  lay  your  flax  when  taken  out  of  the  water. 

Of  drying  Flax  after  watering . 

When  your  flax  is  taken  out  of  the  water,  and  has  drained 
sufficiently,  it  must  be  immediately  spread  open  to  the  sun  and 
wind  to  dry.  Some  prefer  to  slip  the  bands  up  to  the  top  o£ 
the  bundles,  and  opening  the  root  end  ©f  the  bundles  as  much 
as  possible,  set  them  up  against  fences,  or  poles  fixed  up  for  the 
purpose.  Others  choose  to  spread  it  out  upon  a smooth  mea- 
dow or  pasture,  where  the  grass  is  short,  provided  there  is  a 
prospect  of  drying  weather.  In  fact,  the  mode  of  drying  it 
must  be  determined,  more  by  the  prospect  of  the  weather,  than 
any  other  circumstance.  The  flax  being  sufficiently  rotted, 
should  not  be  exposed  to  rain  or  dew,  if  it  can  possible  be 
avoided.  If  taken  out  in  the  morning  of  some  hot  and  drying 
days,  and  properly  opened,  it  would  be  nearly  or  quite  dry 
enough  by  evening  to  put  up. 

XVIII.  Further  remarks  on  the  culture  of  Flax. 

To  insure  a good  crop,  the  seed  should  be  changed  every 
two  or  three  years ; indeed,  could  it  be  changed  every  year  it 
would  be  better.  How  far  it  might  improve  the  flax  of  the 
United  States  to  bring  seed  from  Europe,  has  not,  perhaps  been 
sufficiently  tried,  but  should  this  be  thought  too  inconvenient 


265 


SECRETS  IN  ARTS,  TRADES,  he. 

@r  be  attended  with  too  much  expence,  let  them  exchange  with 
different  states  from  fifty  to  five  hundred  miles  apart. 

Unless  the  drill  method  of  sowing  is  adopted,  flax  .should  be 
sown  after  sunset,  on  land  well  prepared,  and  harrowed  in  ear- 
ly the  next  morning,  before  the  sun  rises.  Thus  the  seed  is 
moistened  with  the  nights  dew,  and  is  easily  enveloped  with 
earth,  which  renders  it  invisible  to  birds,  who  would  otherwise 
commit  great  depredations  upon  it. 

Flax  requires  more  care,  and  nicer  culture  than  any  crop  we 
are  concerned  in.  It  should  never  be  sown  on  a soil  that  is  not 
rich  and  well  wrought.  Being  a plant  that  does  not  require 
much  heat,  it  answers  well  in  cold  latitudes.  The  cooler  kinds 
of  soil,  such  as  clay  and  loam,  and  the  black  earth  of  drained 
lands  are  suitable  for  it,  if  they  are  well  pulverized  and  manu- 
red. In  wet  seasons  it  commonly  does  better  than  in  dry  ones; 
so  that  though  it  may  sometimes  do  well  upon  high  land,  it  is 
best  not  to  risk  it,  rather  choose  a soil  that  is  naturally  low  and 
moist.  If  it  is  too  wet  it  may  be  drained  by  trenches,  thirty  or 
forty  feet  asunder.  Land  should  be  in  good  heart  either  natur- 
ally, or  made  so  by  manures.  It  should  not,  however,  be  ma- 
nured at  the  time  of  sowing,  nor  should  any  thing  be  done  that 
will  make  the  weeds  increase  ; in  no  crop  are  weeds  more  per- 
nicious than  flax.  Many  of  the  plants  are  killed,  others  are 
bushy  and  mishapen,  and  the  coat  light,  being  too  much  de- 
prived of  the  rays  of  the  sun. 

A green  sward  ploughed  up,  well  dunged  with  such  ma- 
nures as  are  suitable  to  flax,  and  planted  with  potatoes  is  a good 
preparation  for  this  crop.  This  does  not  abate  the  strength  of 
the  soil,  but  rather  increases.  It  makes  the  ground  mellow, 
and  destroys  weeds.  The  ground  is,  therefore  in  fine  order  for 
flax  the  following  year. 

A light  frost  happening  after  flax  is  up  will  not  kill  it.  That 
Which  is  sown  early,  grows  slowest,  and  has  the  strongest  coat ; 
early  sowing  is  therefore  recommended. 

Flax  is  a very  exhausting  crop  to  land;  when  it  is  pulled, 
therefore,  the  ground  should  be  ploughed  without  delay,  and 
turnips  or  buckwheat  be  sowed  upon  it,  to  plough  under, 
which  if  the  flax  was  sowed  upon  a sward,  is  an  excellent  pre- 
parative to  wheat.  Turnips  or  Buckwheat  if  they  grow  well 
will  be  equal  to  twenty  loads  of  manure  per  acre,  and  the  pre- 
vious preparation  of  the  land  for  flax,  the  ploughing  of  it  in  the 
summer,  and  again  when  you  sow  your  wheat,  brings  it  int® 
good  order  for  your  winter  grain.  This  arrangement,  however, 
can  only  take  place,  where  the  soil  is  naturally  suitable  for 
wheat. 

It  is  of  the  greatest  importance  to  render  the  lint  fine,  soft, 
and  equal  to  silk  in  spinning.  This  object  is  in  a great  mea- 
sure attained  by  boiling  it  (previous  to  spinning)  for  several 


26$ 


SECRETS  IN  ARTS,  TRADES,  kc. 


hours  in  sea  water,  to  which  is  added  ley  made  of  unslacked 
lime,  and  two  or  three  parts  of  pot  ash  ; thus  is  the  coarsest 
part  of  flax  or  tow  considerably  changed  in  its  texture,  so  as  to 
resemble  the  finest  lint. 

There  are  various  other  methods  of  softening  the  lint,  such 
as  making  it  damp,  and  rolling  it  between  iron  rollers  fixed  for 
the  purpose,  beating  while  damp,  drying  it  and  combing  or 
hatcheling  it  through  fine  hatcheis;  and  repeating  the  opera- 
tion again,  and  again,  rolling  or  beating  and  hatcheling  it,  using 
still  finer  hatcheis,  till  the  lint  is  brought  to  the  requisite  de- 
gree of  fineness.  In  these  operations  very  little  of  it  is  wasted, 
as  the  tow  is  always  useful  for  various  purposes. 

We  cannot  close  our  remarks  upon  this  useful  plant,  without 
observing,  that  so  great  is  its  value,  that  not  even  the  chaff 
from  the  seed,  the  shivs,  or  tow  from  the  first  hatchel,  should 
be  suffered  to  be  lost.  If  useful  for  nothing  else,  they  make  a 
most  valuable  manure  if  piled  in  heaps,  or  put  into  compost 
beds.  But  if  burned,  they  produce  nothing.  Even  that  which 
is  left  upon  the  ground  where  it  grew,  if  ploughed  under  does 
benefit ; the  ground  where  it  is  spread  to  rot  is  much  enriched 
by  the  wash  of  it,  or  the  water  of  ponds  where  it  may  have 
rotted,  if  sprinkled  upon  the  ground  would  do  much  good. 

XIX.  On  the  culture  of  Hem/i. 

The  raising  of  hemp  in  the  United  States,  is  a matter  of  such 
consequence,  as  to  demand  the  attention  of  every  one  who  has 
the  real  interest  of  his  country  at  heart. 

The  usual  height  of  this  plant  when  grown  is  from  five  to 
six  feet,  but  this  varies  considerably,  according  to  the  attention 
paid  to  its  cultivation,  and  the  nature  of  the  soil.  It  may  be 
cultivated  upon  ground  of  every  kind  ; the  poorer  land  produ- 
cing less  in  quantity,  though  of  a finer  quality ; as  it  does  not 
exhaust  the  soil  like  flax,  it  is  probable  that  if  care  was  taken  in 
its  cultivation  it  might  almost  entirely  supercede  it.  If  the 
ground  be  well  manured,  it  may  be  raised  for  several  years  suc- 
cessively upon  the  same  spot.  In  the  choice  of  land  for  its 
cultivation,  a rich,  sandy  loam,  and  a deep  dry  black  mould 
should  be  preferred;  cold,  clayey,  wet  and  gravelly  lands 
should  not  be  used.  If  it  be  new  land,  it  should  be  broke  up 
the  summer  or  fall  preceding,  and  in  the  spring  be  brought  to  a 
great  degree  of  fineness  by  tillage,  or  proper  manure  and  til- 
lage jointly  if  manure  is  required.  The  season  for  sowing  is 
from  the  middle  of  April  to  the  last  of  May  ; however  the  ear- 
liest time  should  be  preferred,  if  the  season  is  favourable. 

As  hemp  is  a plant  of  quick  growth,  and  requires  a great 
deal  of  nourishment  in  a little  time,  the  land  cannot  be  too  well 


SECRETS  IN  ARTS,  TRADES,  &c. 


26f 


prepared  by  tillage,  and  proper  manure  ; there  is  also  an  ad- 
vantage in  making  your  land  mellow,  by  your  hemp  pulling  so 
much  easier.  The  quantity  of  seed  required  to  an  acre  if  you 
use  the  drill  is  from  four  to  six  pecks,  but  if  you  sow  it  in  the 
common  way,  from  eight  to  ten  pecks  will  be  necessary.  We 
recommend  the  drill  method,  being  the  most  certain,  producing 
the  best  stalks,  exhausting  the  land,  the  least,  and,  in  the  end, 
we  believe  the  most  profitable.  The  quantity  usually  produ- 
ced per  acre,  is  from  seven  to  ten  cwt.  much,  however,  depen- 
ding upon  the  tillage  given  to  the  land.  It  is  not  considered  as 
of  more  difficult  culture  than  flax ; it  bears  the  drought  as  well 
or  better  than  indian  corn,  and  is  not  so  liable  to  be  cut  off  by 
an  early  frost.  In  some  countries  the  male  and  female  hemp 
are  pulled  together,  but  in  others  they  are  separated ; when  this 
is  done,  paths  should  be  made  through  the  field  lengthways,  at 
about  seven  feet  distant  from  each  other,  to  allow  a passage  for 
the  person  who  pulls  up  the  male  hemp  from  the  other,  the  lat- 
ter requiring  to  stand  more  than  a month  after  for  the  purpose 
of  ripening  the  seeds  The  male  hemp  is  known  to  be  ripe  by 
the  fading  of  the  flowers,  the  falling  of  the  farina  fecundang, 
and  some  of  the  stalks  turning  yellow. 

It  is  better  to  pull  hemp  a little  before  it  is  perfectly  ripe, 
than  let  it  stand  after,  and  if  possible  it  ought  to  be  worked 
while  green  ; the  hemp  thus  produced,  being  much  finer  than 
that  which  is  previously  dryed.  The  reason  of  this  is,  that  this 
plant  contains  a great  quantity  of  glutinous  matter,  which  be- 
ing once  dried,  aglutinates  the  fibres  of  the  coat  in  such  a man- 
ner, that  they  can  never  be  afterwards  perfectly  separated. 

After  the  hemp  is  pulled,  it  is  taken  in  handsfuil  and  the 
leaves,  seeds,  and  latteral  branches  dressed  off  with  a wood 
dressing  knife  ; and  the  roots  sometimes  cut  off  It  is  then 
made  up  into  bundles  in  order  to  be  steeped  in  water  to  rot  it, 
a process  similar  to  the  rotting  of  flax,  this  method  being  much 
preferred  to  dew  rotting,  especially  where  clear  or  running 
water  can  be  had.  The  length  of  time  required  for  steeping 
hemp  is  various,  being  from  six  to  eleven  days,  the  slenderest 
hemp  requiring  the  most  soaking,  and  warm  weather  greatly 
facilitating  the  operation  ; it  is  better,  however,  for  it  to  remain 
too  long,  than  too  short  a time  ; the  operation  is  known  to  be 
finished  by  the  bark  separating  easily  from  the  reed. 

After  the  hemp  is  sufficiently  steeped,  the  next  operation  is 
to  seperate  the  bark  from  the  reed;  this  is  generally  done  by 
drying  it  and  breaking  it  like  flax,  the  instruments  generally 
used  for  this  purpose  are  all  worked  by  hand  ; we  think,  how- 
ever, that  considerable  improvement  may  be  made  in  the  dres- 
sing of  both  flax  and  hemp. 

Beating  of  hemp  is  the  next  operation,  which  formerly  was 
performed  entirely  by  hand,  but  now  in  most  places  by  a wa« 


m SECRETS  IK  ARTS,  TRABtie,  &c. 

ter-mill,  which  raises  three  or  four  heavy  heaters  that  fall  upon 
it  alternately  ; the  hemp  being  turned  all  the  while  to  receive 
the  strokes  equally.  The  finer  it  is  wanted,  the  more  beating 
it  must  have.  It  is  then  heckeled  or  combed  through  heckle* 
similar  to  those  used  for  flax,  and  made  fine  or  coarse  as  the 
hemp  is  required. 

Further  remarks  on  the  culture  of  Hemp . 

When  pulled,  it  should  be  spread  out  upon  tne  ground  not 
more  than  an  inch  thick,  and  remain  two  or  three  days,  being 
turned  once  or  twice,  it  will  in  this  time  be  fit  to  house  if  the 
weather  has  been  good,  the  sooner  it  is  dried  and  housed  the 
better.  If  the  quantity  be  small,  so  that  it  could  be  dried  un- 
der cover  it  would  be  better,  heavier,  and  of  a brighter  green- 
ish colour  when  dressed,  more  resembling  foreign  hemp.  The 
attentive  cultivator  of  this  useful  article  neglects  all  other  af- 
fairs to  take  care  of  his  hemp  at  this  stage  of  the  business,  if 
exposed  when  a shower  or  storm  threatens,  and  fails  not  to  get 
it  under  shelter,  where  it  remains  until  Indian  harvest  time,  when 
it  is  taken  out  and  put  to  rot.  When  rotted  enough  it  is  taken 
up,  washed  and  removed  to  dry  ground,  and  set  with  the  but 
end  downwards,  leaning  against  poles  arranged  for  the  purpose 
on  crotches  about  three  feet  high,  placing  a bundle  on  one  side 
of  the  pole,  and  another  on  the  other  side,  alternately  until  the 
whole  is  set  up  ; or  it  may  be  set  against  a rail  fence  in  the 
same  manner,  being  secured  from  blowing  down.  It  is  there 
to  remain  exposed  to  all  the  varieties  ot  weather  until  the  fol- 
lowing spring.  The  first  break  in  which  it  is  broken  should 
have  the  teeth  from  three  and  a half  to  four  inches  asunder,  the 
second  the  same  as  a flax  brake. 

XX.  Method  of  preventing  the  smut  in  grain , and 

which  may  possibly  be  efficacious  in  destroying  the 

Hessian  ji.y . 

Put  a half  hundred  weight  of  stone  lime  into  about  seventy 
gallons  of  water,  stir  it  well  for  half  an  hour,  then  let  it  stand 
tor  thirty  hours,  draw  off  the  water,  add  to  it  three  pecks  of  salt 
or  so  much  as  will  make  it  bear  an  egg,  (if  sea  water  has  been 
used,  less  salt  will  be  required);  when  the  salt  is  dissolved,  the 
preparation  (which  you  will  observe,  is  salted  lime-water)  is  fit 
for  to  be  used.  In  this  liquor,  steep  your  grain,  by  putting 
small  quantities  in  a basket,  and  setting  the  basket  in  the  liquor. 
While  the  grain  is  in  the  liquor,  stir  it  that  all  may  be  wet,  and 
that  the  light  grain  may  come  to  the  top,  these  skim  off,  they 
should  not  be  sown,  most  of  them  being  infectious  ; this  done, 


SECRETS  IN*  ARTS,  THAMES,  Sec. 


269 


draw  up  the  basket,  and  let  it  drain  a few  minutes,  and  proceed 
to  steep  the  remainder.  This  seed  will  be  fit  for  sowing  in 
twenty-four  hours  ; but  for  drilling  forty-eight  hours  are  better. 

XXL  On  the  Hessian  Fly . 

These  flys  first  appear  towards  the  end  of  September,  and 
soon  after,  their  eggs  appear  hatched,  in  colour  and  size  like  a 
flaxseed.  They  are  very  low  at  the  joints  of  wheat  plants, 
some  even  in  the  ground,  and  here  they  harbour  all  winter. 

On  their  first  appearance  in  any  district,  their  numbers  being 
small,  they  seldom  cut  off  the  crops,  which  is  often  the  case  the 
second  and  third  year. 

In  the  spring  after  warm  weather,  they  again  appear  as  a 
small  worm,  twist  themselves  round  the  wheat,  as  it  begins  to 
pipe ; eat,  canker,  and  hill  it ; being  gorged,  they  become  a 
chrysalis,  from  whence  the  aurela  takes  wings. 

I would  therefore  propose — 1st.  That  wheat  should  not  be 
sown  on  poor  land,  but  on  that  which  is  naturally  rich,  or  that 
has  been  highly  manured. 

2dly.  In  such  ground,  it  will  be  early  enough  to  sow  the  first 
week  in  October,  when  the  fly  is  mostly  over. 

3dly.  When  the  fly  first  appears,  prepare  a large  bush  of  el- 
ders, the  more  leafy  the  better  ; draw  this  over  the  wheat,  as  this 
shrub  is  obnoxious  to  all  sorts  of  flies  it  will  probably  scare 
them  off. 

4thly.  Prepare  a log  roller,  13  inches  diameter,  four  and  half 
or  five  feet  long,  with  agoage  or  gudgeon  and  nuts  in  the  cen- 
tre of  each  end,  and  a wooden  frame  fixed  on  it,  on  which  may 
be  placed  a box  to  receive  stones,  to>any  weight  required.  It 
is  believed  that  this  roller  if  drawn  over  the  wheat  when  the 
worms  come  out  in  the  spring  will  crush  them,  besides  being 
of  great  benefit  in  levelling  the  earth.  A roller  is  of  so  great  a 
service  in  this  way,  that  even  should  the  fly  happily  leave  us, 
no  farmer  should  be  without  it,  the  expence  is  a mere  trifle. 

XXII.  Method  of  destroying  or  preventing  the 
Hessian  Fly . 

Take  of  the  twigs  and  leaves  of  young  elder  of  the  sunimers 
growth,  bruise  them,  cover  them  with  water,  and  let  them 
stand  in  an  open  vessel  in  the  sun.  and  air,  twenty-four  hours. 
In  this  preparation,  steep  your  seed  wheat  twelve  hours,  and 
sow  it  in  the  common  manner. 


2 70 


SECRETS  IN  ARTS,  TRADES,  Sec. 


XXIII.  On  the  culture  of  Tobacco , as  firactised  in 
Maryland . 

In  March  a bed  is  prepared  in  some  rich  spot  on  the  planta- 
tion, by  burning  a large  quantity  of  brush  upon  it,  and  raking 
the  surface  fine.  About  the  first  of  May,  the  seeds  are  sown 
in  it,  broad  cast,  and  generally  mixed  with  ashes,  in  order  to 
disperse  it  more  equally.  The  young  plants  are  kept  clear  of 
weeds  in  the  same  manner  as  seedling  onions,  or  cabbage  plants, 
and,  like  the  latter,  are  fit  to  be  transplanted,  when  about  two 
inches  high. 

The  ground  to  receive  them,  when  set  out  or  transplanted,  is 
prepared  with  a narrow  hoe,  by  digging  holes  of  about  a foot 
square,  and  the  same  depth,  and  three  feet  apart  every  way,  in 
rows.  This  is  termed  holing.  The  earth  about  the  hole,  and 
that  which  came  out  of  it  is  next  formed  into  a hill  over  the 
hole,  like  cabbage  hills,  only  larger.  This  is  termed  scraping. 
The  hills  being  thus  prepared,  the  first  succeeding  rain  which 
wets  the  ground  sufficiently,  the  plants  are  drawn  from  thebeds, 
and  planted  in  the  same  manner  as  cabbages,  and  where  they 
fail,  are  replanted.  When  the  plants  are  well  fixed,  and  begin 
to  grow,  they  must  be  kept  clean  from  weeds,  until  their  growth 
is  completed.  The  Plant  must  be  topt  when  the  flower  stalks 
begin  to  appear ; this  is  performed  by  breaking  off  the  top  with 
the  finger  and  thumb,  leaving  from  six  to  ten  leaves,  according 
to  the  apparent  strength  and  vigour  of  the  plants.  The  suck- 
ers also,  wffiieh  it  puts  out  between  the  leaf  and  stalk,  must  be 
constantly  broken  off  as  they  appear.  About  the  first  of  Sep- 
tember, and  from  that  till  frost  comes,  the  tobacco  ripens,  and 
must  be  cut. 

It  is  difficult  describing  it  in  this  state  so  as  to  be  certainly 
known.  However,  it  is  in  general  known  to  be  ripe  by  the  leaf 
putting  forth  yellowish  spots,  pretty  thick  over  it  and  having 
attained  a considerable  substance  and  richness.  It  is  then  cut 
down  near  the  ground,  and  let  lie  till  the  sun  has  softened  it 
from  its  brittle  state,  that  it  may  be  housed  without  its  leaves 
snapping  off.  It  is  then  hung  up  in  houses  or  sheds  so  thick 
as  that  the  plants  touch  each  other,  where  it  remains  for  six  or 
eight  weeks  to  dry ; and  in  damp  weather,  a gentle  fire  is  made 
tinder  it  to  prevent  its  moulding.  Many  planters  give  the  fine 
ICitefoot  a colour  by  curing  it  all  together  with  hickory  fires  un- 
der it  until  it  is  dry.  It  is  then  stripped  off  the  stocks  in  damp 
weather,  and  put  up  in  bundles,  the  ends  of  the  leaves  being 
fastened  together  by  having  one  leaf  lapped  round  them.  Upon 
being  stript,  tied  up  in  bundles,  and  sorted,  which  should  al- 
ways be  done  while  stripping,  it  is  packed  up  in  bulk  till  a con- 
venient season  for  packing  in  hogsheads.  This  operation  is 
performed  in  the  following  manner ; the  packer  gets  into  a 


SECRETS  IN  ARTS,  TRADES,  &c. 


271 


hogshead  placed  under  a press,  and  has  the  tobacco  handed  to 
him  which  he  places  with  the  heads  next  the  staves,  all  around 
and  across  the  cask,  until  it  is  one  fourth  filled.  This  quan- 
tity they  press  down  to  about  three  inches  depth,  and  let  it  re- 
main under  press  several  hours,  and  then  pack  the  same  quan- 
tity, and  press  it  again  ; thus  the  cask  is  filled  to  the  top, quite 
solid.  A hogshead  weighs  from  750  to  1150  pounds  in  Mary- 
land, in  Virginia  much  heavier. 

XXIV.  On  the  benefit  of  Salt  in  agriculture . 

The  advantages  of  Salt  in  agriculture,  are  greater,  perhaps, 
than  is  generally  supposed.  It  may  be  put  directly  upon  the 
land,  or  mixed  with  the  fodder  you  give  your  cattle.  Upon 
no  crop  is  it  more  beneficial  than  Flax.  It  should  be  used  in 
the  proportion  of  about  one  bushel  of  salt  to  one  bushel  of  flax- 
seed. Your  flax  will  be  well  coated,  taller  and  fuller  of  seed. 
The  increase  of  this  last  article  will  generally  pay  the  expence 
of  the  salt,  being  in  most  cases  three  bushels  for  one  produced 
by  the  ordinary  way  of  cultivating  Flax 

It  is  also  recommended  to  try  salt  upon  oats,  winter  wheat 
and  rye,  and  also  upon  Indian  corn,  at  the  rate  of  two  bushels 
of  salt  to  an  acre.  There  is  no  doubt  but  that  it  will  amply 
repay  the  expence. 

XXV.  On  the  advantages  of  Plaister  of  Paris . 

Mr.  J.  Woolston,  of  Rucks  county,  Pennsylvania,  prepared 
14  acres  of  good  new  land,  in  the  fall  of  1787,  upon  which  he 
sowed  white  wheat.  In  the  beginning  of  March,  1788,  he  sowed 
4 pound  of  clover  seed,  and  three  bushels  of  plaister  of  paris 
upon  each  acre  of  this  ground.  It  produced  1 6 bushels  of  clean 
wheat  per  acre.  Soon  after  the  harvest,  a series  of  rainy  wea- 
ther came  on,  which  lasted  fourteen  days,  during  this  time  the 
clover  grew  as  high  as  the  wheat  stubble,  and  some  time  after, 
fully  blossomed.  When  ripe,  he  cut  and  threshed  it,  the  pro- 
duce was  twenty  one  bushels  of  clean  seed,  which  with  the 
wheat,  he  sold  for  140  pound,  the  price  he  had  given  for  the 
land.  By  the  use  of  plaister,  clover  may  be  kept  in  the  ground 
for  three  years  longer  than  its  usual  period.  On  a tough 
sward,  it  is  necessary  to  sow  four  or  five  bushels  to  the  acre. 
It  meliorates  and  lightens  the  soil,  turning  it  to  a darker  co- 
lour, so  as  to  be  plainly  visible ; and  produces  clover.  For 
Indian  corn  it  is  better  to  strew  it  over  the  whole  ground,  than 
to  put  it  in  the  hills,  as  when  the  fine  roots,  by  which  the  corn 
plant  is  nourished,  push  themselves  from  the  hills  where  the 
plaister  is,  into  poorer  soil,  they  must  dwindle  for  want  of  that 
nourishment  which  the  plaister  affords. 


272  SECRETS  IN  ARTS,  TRADES,  &c. 

An  experiment  was  also  made  of  plaister  upon  Indian  corn, 
by  a Mr.  Longstreth  of  the  same  county.  Of  fifty  acres  of  In- 
dian corn,  he  plaistered  thirty,  with  about  one  eighth  of  a gill 
to  each  hill,  after  the  corn  was  come  up,  and  before  it  was  har- 
rowed. The  soil  was  a light  loam  ; the  hills  five  feet  three 
quarters,  by  four  feet  asunder.  On  the  thirty  acres,  he  com- 
putes that  there  was  an  increase  of  two  hundred  bushels  of  com 
more  than  the  land  would  have  produced  without  the  plaister 
of  paris,  judging  from  the  produce  of  the  twenty  acres  on 
which  no  plaister  was  put.  Twenty  six  bushels  of  the  plaister 
was  put  on  the  thirty  acres. 

XXVI.  Method  of  improving  Old  Ground , to  make  it 
suitable  for  the  culture  of  Flax. 

Let  your  land  run  over  with  grass,  until  June,  then  plough 
it  in  and  dung  the  gronnd  with  sheeps  dung,  or  yard  your 
sheep  upon  it,  plough  it  eight  or  nine  times  before  winter. 
Early  in  the  succeeding  spring,  plough  it  three  times  more,  and 
at  the  last  time  plough  in  your  seed  with  some  ashes  ; roll  the 
ground  with  a roller,  to  make  it  smooth,  and  beat  it  down 
hard 

To  increase  the  quantity  of  nitrous  salt  in  the  ground,  let 
the  ploughing  be  done  while  the  dew  is  on  ; this  is  of  material 
benefit ; Wet  land,  where  the  water  stands  in  the  spring,  or  af- 
ter a heavy  rain  should  not  be  ploughed  until  it  is  dry.  The 
ploughing  of  the  land  often  prevents  the  generation  of  devour- 
ing insects.  Part  of  the  land  may  be  sown  early,  the  rest  at  or 
near  the  full  moon  in  May.  You  may  expect  both  crops  to  be 
good,  but  one  of  these  certainly  will  succeed. 

XXVII.  On  Clover. 

In  Concord  there  was  a farmer  who  raised  in  the  year  1791 
fifty  two  bushels  and  a peck  of  clover  seed  from  thirteen  acres, 
and  sold  it  for  four  pound  ten  shillings  per  bushel,  which  a- 
mounted  to  two  hundred  and  thirty  five  pound,  five  shillings. 
Another  had  twelve  bushel  off  six  acres,  besides  many  others 
who  had  lesser  quantities;  all  sowed  on  their  wheat,  and  had  al- 
so many  tons  of  hay  the  first  crop.  I saw  the  six  acres,  and  think 
there  was  nearly  two  tons  of  hay  per  acre.  Two  of  the  plan- 
tations I have  known  near  fifty  years,  and  formerly  they  could 
hardly  raise  their  own  bread.  They  have  very  little  natural 
meadow,  and  have  used  much  plaister  of  paris  ; but  by  sowing 
clover,  their  land  is  so  much  improved  that  their  crops  of  wheat 
are  now  very  good. 


SECRETS  IN  ARTS,  TRADES,  &c.  273 

XXVIII.  An  excellent  and  cheap,  Fodder . 

Take  the  stalks  of  Indian  corn,  leaves,  husks  and  all,  cut 
them  fine,  the  same  as  straw  is  cut ; mix  them  with  potatoes, 
shorts,  or  meal,  and  they  make  an  excellent  and  cheap  fodder  ; 
very  nutritive ; and  upon  which  cattle  thrive  well.  Three 
fourths  of  the  whole  quantity  may  be  of  the  cut  stalks.  If  put 
with  a small  quantity  of  bran,  and  mixed  with  scalding  water, 
they  afford  an  excellent  mess  for  milch-cows.  In  the  common 
v/ay  of  foddering  cattle  with  corn  stalks,  the  leaves  and  husks 
only  are  eaten,  and  the  remainder  principally  wasted.  By  adop- 
ting the  plan  recommended,  the  whole  affords  a nutritive 
food. 

XXIX.  An  excellent  substitute  for  Hay . 

As  it  can  be  known  by  the  middle  of  May,  how  your  crop  of 
hay  is  like  to  be  ; should  you  be  likely  to  fall  short  of  having 
your  usual  quantity,  the  following  substitute  is  recommended. 

About  the  end  of  May  or  beginning  of  June,  plough  twice  a 
piece  of  ground,  proportioned  in  size  to  the  fodder  you  may 
possibly  want ; choose  Indian  corn  of  the  smallest  size,  in  or- 
der to  sow  it  thick  ; soak  this  twenty  four  hours,  to  hasten  its 
germination,  and  prevent  its  being  eaten  by  birds,  and  sow  it  at 
the  rate  of  three,  or  three  and  a half  bushels  per  acre,  and  har- 
row the  ground  even.  It  requires  no  more  trouble  till  the  mow- 
ing, which  ought  to  be  done  when  the  blossom  begins  to  come 
out  of  the  capsula.  The  plant  is  then  full  of  juice,  and  its 
stalks  and  leaves  exceedingly  succulent.  If  it  were  mown  la- 
ter, it  would  lose  this  good  quality.  It  ought  to  be  dried  im- 
mediately, and  housed  for  fodder.  The  cattle  will  eat  it  greedi- 
ly. Even  while  green,  it  is  a good  substitute  for  grass. 

This  crop  rather  enriches,  than  impoverishes  the  land,  by 
the  great  quantity  of  roots  it  leaves  in.  Winter  grain  may  im- 
mediately succeed  this  crop. 

XXX.  To  prevent  the  bug  from  destroying  Cucum- 
bers. 

Plant  your  cucumbers  in  poor  land,  lying  favourably  to  the 
sun,  making  the  hills  very  rich  with  manure,  well  rotted. 

XXXI.  On  the  managemetit  of  Lambs. 

Lambs,  before  the  heat  of  the  summer  is  over,  are  clothed 
with  such  a quantity  of  wool,  that  they  often  become  poor  ; 
which  is  the  case  with  the  sheep  that  are  not  sheared  ; whereas 

Aa  2 


2f4 


SECRETS  IN  ARTS,  TRADES,  &€; 


let  them  be  sheared  and  the  effect  is  the  same  as  with  Sheep. 
Let  the  farmers,  then  annually  shear  their  Lambs,  their  fleeces 
are  valuable  for  hatters,  and  the  animals  be  greatly  benefited. 

XXXII.  Method  of  raising  calves  without  milk,  pro - 
posed  by  Mr.  William  Budd , for  which  the  Society 
for  the  encouragement  of  Arts , Manufactures . and 
Commerce , awarded  him  a Gold  Medal. 

When  calves  are  two,  or  three  days  old,  they  should  be  ta- 
ken from  the  cow,  and  put  in  a house  by  themselves.  Feed 
is  then  prepared  for  them  in  this  manner.  Take  of  barley  one 
hundred  weight,  and  of  oats  two  hundred  weight,  or  in  this 
proportion  ; let  these  be  ground  fine,  and  sifted  through  a fine 
sieve;  to  a quarter  of  this  flour  put  three  gallons  of  water, 
and  boil  it  half  an  hour,  let  this  cool  to  about  the  warmth  of 
milk,  then  give  to  each  calf,  one  quart  of  this  in  the  morning 
and  the  same  in  the  evening ; encreasing  the  quantity  as  the 
calves  grow  older. 

After  the  calves  have  had  of  this  diet  for  a week  or  ten  days, 
tie  up  a little  bundle  of  hay,  and  put  it  in  the  middle  of  the 
house,  they  will  by  degrees  come  to  eat  it,  and  also  put  into  a 
small  trough,  a little  of  the  meal  above  mentioned,  for  them  to 
eat  occasionally,  which  is  of  great  service  to  them. 

Calves  should  be  kept  in  this  manner  till  they  are  at  least 
two  months  old,  before  they  are  turned  out  to  grass;  there- 
fore the  earliest  calves  are  the  best.  About  four  pounds  of 
the  above  meal,  with  a proportionable  quantity  of  water  is  suf- 
ficient for  one  calf  for  a day,  and  as  upon  a farm  the  bran  from 
the  barley  and  oats  need  not  be  lost,  calves  may  be  raised  in 
this  method  at  a trifling  expence. 

XXXIIL  On  the  culture  of  the  Currant  Bush. 

Take  of  the  most  luxuriant  shoots  of  a years  growth,  set 
them  in  the  ground  about  eight  inches  deep,  and  twenty-four 
inches  apart  ; these  seldom  fail  of  taking  root,  and  generally 
bear  in  two  years.  As  the  goodness  of  the  fruit,  depends  up- 
on your  bushes  having  the  full  benefit  of  the  sun  and  air,  pains 
must  be  taken  to  spread  open  the  tops  of  the  bushes  as  much 
as  possible  ; at  the  same  time  pruning  out  all  suckers  and  su- 
perfluous branches,  and  keeping  the  branches  clear  of  grass 
and  weeds.  It  is  of  great  benefit  to  manure  the  ground  a- 
round  the  bushes,  and  at  least  once  a year  give  it  a plough- 
ing, or  hoeing,  if  oftener,  it  would  be  still  better.  The 
red  currant  is  preferable  to  the  white,  as  yielding  a richer, 
juice,  and  in  much  greater  quantity. 


SECRETS  m ARTS,  TRADES,  2?5 

XXXIV.  Advantages  of  the  culture  of  the  Sugar 
Staple  Tree . 

Immense  sums  of  money  are  sent  every  year  to  the  West- 
Indies  for  sugar.  From  experience,  it  has  been  found  to  be  a 
wholesome  and  nutricious  article  of  diet.  I do  not  wish  to 
discourage  the  use  of  it,  but  to  recommend  the  manufacture 
of  it  among  ourselves-  A species  of  the  American  maple  con- 
tains genuine  sugar,  and,  if  properly  prepared,  would  in  every 
respect  equal  in  all  its  qualities,  the  sugar  obtained  from  the 
cain  of  the  West-Indies.  For  sugar  like  water  is  of  one  origi- 
nal species  only.  Its  varieties  depend  upon  its  being  more  or 
less  diffused  with  other  matters,  ail  of  which  may  be  separa- 
ted by  easy  processes.  The  maple  not  only  affords  an  excel- 
lent sugar,  but  a pleasant  molasses,  an  agreeable  beer,  a strong 
sound  wine,  and  an  excellent  vinegar. 

The  following  receipts  for  making  each  of  them,  have  been 
obtained  with  some  difficulty,  from  persons  who  have  succeed- 
ed in  the  manufactory  of  them,  and  are  earnestly  recommended 
to  those  citizens  of  the  United  States  who  live  in  the  neighbor- 
hood of  sugar  maple  trees. 

XXXV.  To  make  Maple  Sugar. 

Make  an  incision  in  a number  of  maple  trees,  at  the  same 
time,  in  the  months  of  February  or  March,  and  receive  the 
juice  of  them  in  earthen  or  wooden  vessels.  Strain  the  juice, 
after  it  is  drawn  from  its  sediment,  and  boil  it  in  a wide-mouth- 
ed kettle.  Place  the  kettle  directly  over  the  fire,  in  such  a 
manner  that  the  flame  shall  not  play  upon  its  sides.  Skim  the 
liquor  while  it  is  boiling.  When  it  is  reduced  to  a thick  syr- 
up, and  cooled,  strain  it  again,  and  let  it  settle  for  two  or  three 
days,  in  which  time  it  will  be  prepared  for  granulating.  This 
operation  is  performed  by  filling  the  kettle  half  full  of  the  syr- 
up, and  boiling  it  a second  time.  To  prevent  its  boiling  over, 
add  to  it  a piece  of  fresh  butter,  or  fat,  of  the  size  of  a walnut. 
You  may  easily  determine  when  it  is  sufficiently  boiled  to 
granulate,  by  cooling  a little  of  it.  It  must  then  be  put  into 
bags  or  baskets,  through  which  the  water  will  drain,  so  as  to 
leave  it  in  a solid  form.  This  sugar  if  refined  by  the  usual 
process  may  be  made  into  as  good  single  or  double  refined 
loaves,  as  ever  were  made  of  the  sugar  obtained  from  the  juice 
of  the  West-India  cane. 

XXXVI.  To  make  Maple  Molasses. 

This  may  be  made  in  three  ways.  1st.  From  the  thieB 


276 


SECRETS  IN  ARTS,  TRADES,  &c. 


syrup,  obtained  by  boiling,  after  it  is  strained  for  granulating. 
2d.  From  the  drainings  of  the  sugar.  Or,  sdly.  From  the  last 
runnings  of  the  tree  (which  will  not  granulate)  reduced  by  e- 
vaporation  to  the  consistence  of  molasses. 

XXXVII.  Maple  Beer . 

To  every  four  gallons  of  water  (while  boiling)  add  a quart 
of  maple  molasses.  When  the  liquor  is  cooled  to  blood  heat, 
put  in  as  much  yeast  as  is  necessary  to  ferment  it.  Malt  or 
bran  may  be  added  to  this  i eer,  when  agreeable.  If  a table 
spoonfull  of  the  essence  of  spruce  is  added  to  the  above  quan- 
tities of  water  and  molasses,  it  makes  a most  delicious  and 
wholesome  drink. 

XXXVIII.  Remarks  upon  Fruit  Trees . 

No  young  trees  should  be  suffered  to  bear  fruit,  except  just 
enough  to  learn  its  quality  ; if  they  have  many  blossoms,  the 
fruit  should  betaken  off  as  soon  as  it  is  formed.  By  this  me- 
thod the  trees  grow  more  vigorously,  the  main  branches  form 
better,  and  the  ^increase  of  the  quantity  and  quality  of  the  fruit, 
amply  repays  the  first  loss. 

Until  fruit  trees  are  transplanted,  the  heads  should  be  cut 
down,  to  give  strength  and  symetry  to  the  stem  ; and  when 
grafted,  the  grafts  should  be  shortened  to  prevent  them  being 
blown  out  by  the  wind  ; this  requires  attention  the  first  and 
second  years,  more  particularly.  No  young  plants  or  newly 
grafted  trees  should  be  permitted  to  grow  with  bushy  and 
thick  tops,  until  the  stem,  and  main  branches  are  properly 
formed,  and  have  attained  a size  and  stability  of  character, 
suited  to  the  future  tree  you  wish  to  have  ; quite  as  much  top 
as  is  requisite,  will  very  soon  grow,  especially  if  the  stem  and 
main  branches  of  the  tree  are  well  formed,  and  of  vigorous  and 
flourishing  growth. 

Fruit  trees  should  be  so  disposed  in  rows  that  each  one  may 
partake  of  the  benefit  of  the  morning  sun,  during  the  spring  ; 
this  dissipates  the  vapors  collected  in  the  night,  which,  if  suf- 
fered to  condense,  will  stint  the  fruit  in  its  early  growth.  If 
pla  ed  inrowsdirectly  east  and  west,  theeasternmosttree  shades 
those  to  the  west  of  it.  The  best  situation  for  fruit  trees  of 
almost  every  kind,  as  well  as  the  vine,  is  a rising  ground  slop- 
ing towards  the  south  and  south-east,  here  they  have  the  full 
benefit  of  the  morning,  and  meredian  sun. 

Among  the  various  kinds  of  manure  which  are  made  upon 
farms,  none  is  so  useful  to  fruit  trees,  especially  if  on  grass 
land,  as  the  refuse  of  flax  $ this  should  be  put  round  the  trunks 


SECRETS  IN  ARTS,  TRADES,  &c.  2 77 

and  spread  upon  the  ground  as  far  as  the  roots  extend,  parti- 
cularly when  put  to  young  trees.  Perhaps  the  water  from 
ponds  where  flax  is  rotted,  would  be  equally  good,  and  amply 
pay  for  the  trouble  of  removing  it  to  them. 

Some  recommend  removing  the  soil  away  from  around  the 
trunks  of  fruit  trees  (particularly  the  peach)  before  the  frost 
sets  in,  leaving  the  upper  roots  uncovered  for  eighteen  inches 
or  two  feet  from  the  trunk,  and  suffering  them  to  remain  so 
during  the  winter  ; and  to  return  the  soil  to  its  place  in  the 
spring.  This  method  destroys  many  insects  that  harbour 
round  the  roots,  and  trunks  of  trees,  and  very  much  meliorates 
the  soil.  It  would  add  much  to  the  benefit  of  this  practice,  if, 
during  the  winter,  the  snow  was  heaped  up  round  the  roots  of 
your  trees,  and  suffered  gradually  to  melt  away.  If  you  put 
much  snow,  it  would  so  retard  the  budding  of  your  trees  in 
the  spring  as  to  put  them  out  of  danger  from  the  latest  frosts. 
When  returning  the  soil  to  the  roots  of  your  trees,  it  is  re- 
commended to  heap  it  from  six  to  nine  inches  above  the  level 
of  the  ground,  around  the  trunk,  so  as  to  remain  during  the 
summer ; the  removing  of  it,  in  the  succeeding  autumn  does 
the  more  effectually  destroy  all  noxious  insects. 

It  is  observed  that  from  the  flowers  and  small  fruit  falling 
off,  many  a promising  crop  has  failed.  Various  are  the  me- 
thods that  have  been  proposed  to  remedy  this  evil.  Some  re- 
commend making  a ligature  on  the  stems  of  young  trees  in  au- 
tumn, this  compression  slackens  the  motion  of  the  saps  rising, 
the  tree  blossoms  the  later,  and  is  more  likely  to  retain  its  fruit. 
Others  sprinkle  the  roots,  or  foot  of  the  trees,  while  in  blossom, 
with  five  or  six  buckets  of  water  ; and  to  preserve  the  humidi- 
ty, put  straw  around  the  tree  ; this  prevents  too  hasty  an  e- 
vaporation.  Further  remarks  will  be  made  upon  transplant- 
ing, engrafting,  and  pruning  fruit  trees  as  we  proceed. 

XXXIX.  He  marks  upon  the  planting  of  Orchards . 

Orchards  are  most  generally  confined  to  the  cultivation  of 
one  kind  of  fruit,  but  frequently  are  composed  of  two  or  more 
kinds,  and  sometimes  are  ornamented  arid  enriched  with  the 
greatest  possible  variety  ; among  which  we  name,  apples, 
peaches,  pears,  cherries,  plums,  quinces,  mulberries,  grapes, 
walnuts,  hazelnuts,  currants,  goosberries,  strawberries,  rasp- 
berries, See.  the  quantities  of  each  being  proportioned  to  the 
situation  and  extent  of  the  ground,  and  regulated  by  the  views 
of  the  owner,  as  gain  or  pleasure  may  influence  him. 

The  extent  of  an  orchard  will  generally  be  determined  by  the 
quantity  of  land  that  the  owner  can  devote  to  that  particular 
use;  and  by  the  views  of  the  person  who  plants  it,  whether  it 
be  intended  for  private  use,  or  for  to  supply  a public  market 
with  fruit. 


SECRETS  IN  ARTS,  TRADES,  kc. 


2?8 

In  choosing  the  situation  for  an  orchard,  care  should  be 
taken  to  avoid  all  north-east,  and  north  exposures  if  possi- 
ble. A western  and  southern  aspect  is  to  be  preferred,  if  not 
upon  too  great  a declivity  . The  { laiity  of  the  soil,  also,  will 
claim  consideration  : it  should  be  of  a rich,  loomy  nature, 
such  as  produces  good  crops  of  corn  and  grass.  It  should 
be  not  wet,  and  heavy;  not  yet  too  light  and  dry,  but  soft, 
easily  worked,  and  have  at  least  one  spade  deep  of  good 
vegetable  an  . raid. 

All  low  damp  situations  should  be  purposely  avoided,  as 
no  fruit  trees  can  flourish  upon  such  land,  nor  can  their  pro- 
ductions be  fine  or  well  flavoured.  With  respect  to  eleva- 
ted situations,  the  objections  to  them  can  only  be,  that,  they 
are  too  much  exposed  to  pernicious  and  hurtful  winds,  or 
too  open  to  the  southern  sun,  or  the  soil  is  not  of  the  proper 
kind  : where  these  objections  do  not  lay  against  them,  ele- 
vated situations,  are,  on  every  other  account  to  be  preferred. 

The  preparation  requisite  for  ground  for  an  orchard,  is, 
making  it  mellow  (either  by  ploughing  or  trenching  or  both) 
quite  as  deep,  or  somewhat  deeper  than  the  root  of  your 
largest  trees  will  reach,  when  first  set  out.  If  you  trench 
upon  a turf  ground,  throw  the  sods  to  the  bottom  of  the 
trench,  they  make  an  excellent  manure  to  set  your  trees 
upon. 

It  is  hardly  necessary  to  mention  that  an  orchard  should 
be  well  secured  from  the  incursions  of  cattle,  and  for  this 
purpose,  no  inclosure  is  so  good  as  a thick  well  set  hedge, 
from  which,  other  advantages,  also,  as  well  as  keeping  off 
the  cattle  are  derived. 

Manuring  the  land  is  also  an  object  of  no  small  impor- 
tance. We  have  elsewhere  remarked,  that  no  tree  or  plant 
should  be  transplanted  into  a poorer  soil  than  that  in  which 
it  grew,  but  if  possible  into  a better  soil,  and  one  more  con- 
genial to  its  nature-  A situation  marked  out  for  an  orchard 
should,  therefore,  either  be  naturally  rich,  or  be  made  so 
by  good  and  well  rotted  manure.  The  manure  of  cities, 
such  as  the  sweepings  of  streets,  that  of  cow  and  slaughter- 
houses, the  emptying  of  drains,  &c.  are  most  suitable,  and 
much  facilitate  the  growth  and  health  of  fruit  trees. 

The  transplanting  of  your  fruit  trees  is  next  in  order  to 
be  considered  : the  best  season  for  this,  in  most  parts  of  the 
United  States,  is  just  before  the  sap  begins  to  run  in  the 
spring ; they  immediately  take  root,  and  grow  : especially 
if  the  season  is  mild  and  favourable. 

In  selecting  your  trees  while  in  the  nursery,  young  and 
healthy  trees  should  be  chosen,  rejecting  all  such  as  are 
diseased  with  moss,  cancer,  6cc.  They  are  not  only  bad 
themselves,  but  injure  those  that  are  good.  It  is  also  of  im- 


SECRETS  IN  ARTS,  TRADES,  Sec. 


279 


mence  advantage  to  have  your  young  trees  well  pruned  in 
the  nursery,  one  year  previous  to  removing  them  ; let  all 
extraneous  and  rambling  branches  be  closely  taken  off, 
and  only  three  or  tour  leading  shoots  be  left  to  each  head  : 
thus  managed,  the  trees  will  not  require  the  use  of  the  pru- 
ning knife,  for  a considerable  time  ; and,  as  they  will  have 
no  wounds  open  in  the  year  they  are  removed,  their  growth 
will  be  much  promoted. 

The  roots  of  fruit  trees  should  be  preserved  of  consider- 
able length  when  taking  them  up,  particularly  such  roots 
as  run  near  the  top  of  the  ground.  \\  hen  the  t^ees  are  set 
out,  such  roots  will  run  in  a horizontal  direction,  and  be 
more  immediately  influenced  by  the  sun  : their  sop  will 
become  richer,  and  their  fruit  more  sweet  and  beautiful. 

In  arranging  an  orchard  where  variety  of  fruit,  more 
than  profit,  is  the  object,  it  is  recommended  to  set  off  each 
kind  in  the  several  rows  : or  so  to  diversify  them,  that  trees 
of  a larger  and  smaller  growth  may  alternately  succeed 
each  other.  By  this  method,  more  may  be  planted  upon 
the  same  space  of  ground,  and  derive  equal  advantages 
from  the  sun,  and  unobstructed  air. 

For  the  smaller,  and  more  tender  kinds  of  fruit,  such 
sheltered  situations  should  be  chosen,  as  is  congenial  to 
their  natures,  and  in  their  future  cultivation,  particular  at- 
tention should  be  bestowed  upon  them  : without  this  they 
soon  fall  back  to  their  native  wiki  and  dwarfish  state. 

To  enumerate  all  the  varieties  of  the  different  kinds  of 
fruit,  that  the  curious  in  this  article  might  wish  to  culti- 
vate, would  in  this  place  he  of  but  little  advantage,  and  ex- 
tend the  limits  of  our  work  beyond  what  was  at  first  inten- 
ded. Every  experienced  nurserv-man  can  furnish  such  a 
catalogue,  as  will  better  direct  in  the  choice  of  fruit,  than 
any  list  of  names  that  we  could  give. 

With  respect  to  the  method  of  planting  trees,  a wide  hole 
must  be  'ffig  for  each,  sufficiently  capacious  to  receive  all 
the  roots  freely,  so  that  they  may  not  touch  the  sides.  Borne 
practice  putting  manure  in  each  hole  ; this  should  not  be 
done  however,  except  the  manure  be  well  rotted,  and  even 
then,  it  should  be  thoroughly  mixed  with  the  soil  that  you 
put  around  the  roots  of  your  trees.  The  holes  being  dug, 
a single  tree  should  be  put  in  each,  one  person  holding  its 
stem  erect,  while  another  breaks  the  earth  in  small  pieces, 
and  throws  it  upon  the  roots  ; the  tree  being  occasionally 
shaken,  that  the  mould  may  lie  closely  on  all  the  smaller 
roots,  and  fibres,  and  the  plant  be  gradually  elevated,  till 
the  top,  or  crown  of  the  roots  is  only  two  or  three  inches 
below  the  common  surface  of  the  earth. 

When  the  cavity  is  properly  filled,  it  must  be  gently 


380 


SECRETS  IN  ARTS,  TRADES,  &c. 


pressed  with  the  foot  ; first  on  the  outside,  and  then  ad- 
vancing gradually  towards  the  stem,  the  surface  being 
formed  somewhat  hollow.  Lastly,  a few  inverted  sods  or 
pieces  of  turf,  must  be  laid  over  the  whole,  so  as  to  form  a 
kind  of  circular  bank,  three  or  four  inches  high  ; which 
will  not  only  support  the  tree,  but  at  the  same  time  shelter 
the  roots  from  drying  winds,  and  those  droughts  that  some- 
times prevail  in  summer. 

As  the  excellence,  and  maturity  of  fruit,  depend  much 
on  the  culture  of  the  soil  beneath  the  trees,  it  should  by  no 
means  be  neglected-  The  ground  should  be  frequently 
stired  with  the  spade  and  hoe  ; and  kept  clear  of  grass  and 
weeds,  until  they  attain  to  the  full  size. 

By  this  culture  the  fertilizing  particles  of  rain,  air,  dew, 
snow,  See.  the  more  easily  penetrate  into  the  earth,  and 
produce  beneficial  effects  on  the  roots  of  fruit  bearing  trees 
and  shrubs.  Such  an  expedient  not  only  tends  to  promote 
their  fertility,  but  it  is  likewise  one  of  the  most  effectual 
means  of  preserving  them  in  a sound  and  health;  state. 
Frequent  stiring  of  the  ground,  and  removing  of  the  weeds 
and  grass  from  the  roots  of  trees,  destroys  numbers  of  in- 
sects, that  in  some  stage  of  their  existance,  shelter  there, 
and  which  are  injurious  to  the  tree-  Independantly  of  these 
advantages,  the  soil  itself  will  thus  be  so  much  improved, 
that  it  may  serve  to  raise  the  most  abundant  crops  of  vege- 
table roots,  particularly  turnips. 

On  the  culture  of  the  Peach  Tree. 

.The  Peach,  (of  the  finer  and  improved  kinds)  is,  perhaps  the 
most  delicious  of  all  fruits,  it  cannot  but  be  an  object  there- 
fore L‘.. know  the  best  methods  oi  cultivating  them,  it  has 
frequently  been  remarked,  that  the  peach  tree  grew  better 
in  the  middle  states  formerly,  than  at  present : perhaps  .-a 
little  enquiry  into  its  nature,  will  enable  us  to  cultivate  it 
with  the  same  success  as  has  heretofore  been  done. 

This  tree,  when  growing  in  a soil  and  climate  congenial 
to  its  nature,  is,  in  its  form  and  exterior  appearance  the 
handsomest  of  all  fruit  trees.  It  grows  with  a straight  stem 
to  the  height  of  from  eighteen  to  twenty-four  feet,  the  bo- 
dy of  the  tree  regularly  tapering  from  the  ground  upwards, 
and  the  branches  putting  forth  on  four  sides  of  the  trunk, 
at  equal  and  regular  distances:  each  branch  being  in  mina- 
ture,  what  the  whole  tree  is,  as  to  form  and  shape.  This 
regular  and  beautiful  shape,  can  seldom  be  preserved, 
hcv  ever,  bey*  nd  its  third  'rears  growth  * we  will  ■ ore 
describe  how  a more  stable  shape  can  be  given  it,  and  how  its 
cultivation  can  be  pursued  to  the  most  profit  and  advantage. 


SECRETS  m ARTS,  TRADES,  &c. 


281 


Seleet  for  your  nursery  a spot  of  ground,  of  a light  loam, 
rather  inclining  to  sand  than  clay,  not  low  or  flat,  but  rather 
hilly,  with  gentle  declivities.  Plough  this  to  the  greatest  depth 
possible,  not  less  than  twelve  inches.  Should  one  ploughing 
fail  to  make  it  thoroughly  mellow,  give  it  a second  or  third. 
When  thus  prepared,  which  should  be  in  the  latter  part  of  the 
summer,  or  autumn,  gather  your  peach  stones  or  kernals, 
(which  should  be  of  the  finest  kinds  of  fruit,  and  from  middle 
age,  thrifty  and  flourishing  trees,)  plant  them  about  twelve  in- 
ches apart  each  way,  and  about  three  inches  deep.  Unless  the 
fall  and  winter  has  been  uncommonly  dry,  peach  stones  planted 
in  September  and  October,  will  sprout  in  the  following  April 
and  May.  They  are  now  to  be  attended  to  each  month  for  this 
and  the  following  summer,  all  weeds  and  grass  is  to  be  kept 
from  among  them  by  hoeing,  the  ground  is  to  be  made  and  kept 
mellow,  and  no  branch  must  be  suffered  to  grow  out  from  the 
stem  until  it  has  attained  the  height  of  at  least  three  feet,  nor  is 
more  than  three  or  four  branches  to  be  permitted  to  grow  at 
anytime  from  the  body,  until  the  plant  is  removed  from  the 
nursery,  and  those  which  are  suffered  to  grow  should  be  the 
very  top  ones.  Monthly  or  oftener  during  the  first  and  seqond 
years  all  branches  and  wood-buds,  or  such  buds  as  will  grow 
to  branches  should  be  taken  off  close  to  the  stem  ; where  they 
are  buds  only,  they  may  be  rubbed  off  with  the  hand,  but  the 
branches  should  be  cut  off  with  a sharp  knife  drawn  upwards, 
so  as  to  make  the  wound  as  smooth  as  possible. 

By  the  Spring  of  the  third  year  ; your  trees  should  have  at- 
tained  the  height  of  at  least  six  feet,  and  if  they  have  been  pro- 
perly managed,  will  be  straight,  handsome  stems,  with  three  or 
four  branches,  regularly  spread  on  each  side,  from  the  top  of 
the  tree.  They  are  now  ready  for  transplanting,  provided  you 
do  not  inoculate,  or  ingraft  them.  When  this  is  done,  it  should 
be  attended  to  one  year  previous  to,  or  one  year  after  they  are 
removed,  and  not  the  same  year. 

When  transplanted,  it  should  be  to  a soil,  and  situation  as 
nearly  similar  to  that  recommended  for  a nursery  as  can  be;  it 
need  not  be  rich,  but  should  be  made  mellow.  If  it  has  been 
occupied  as  a pasture  for  cows  or  sheep  two  or  three  years  pre- 
vious to  setting  it  out  with  Peach  trees,  it  will  be  the  better. 
Having  ploughed  it  well,  as  deep  as  possible,  and  made  it  tho- 
roughly mellow,  proceed  to  dig  holes  sixteen  feet  apart  each 
way,  let  them  be  so  large  as  to  take  in  all  the  roots  of  your 
Peach  trees,  with  ample  room.  Take  up  your  trees  carefully, 
preserving  as  many  of  the  side  roots  as  as  possible,  and  if  these 
be  large,  a considerable  part  of  the  tap,  or  main  root  may  be  ta- 
ken off,  and  the  wound  closed  by  burning  with  a hot  iron,  and 
applying  a proper  cement  into  which  the  wounded  root  should 
be  dipped.  The  reason  for  preserving  the  side  roots  andde- 


SECRETS  IN  ARTS,  TRADES,  &c. 


283, 

stroying  the  centre  root,  is,  that  from  the  former  is  derived  that 
nourishment  which  forms  the  fruit,  and  from  the  latter  that 
which  forms  the  wood.  The  same  remark  applies  to  almost 
every  tree  and  plant  bearing  fruit.  See  how  wise  nature  is  in 
her  arrangement ! Those  roots  which  are  to  feed  the  fruit,  run 
near  the  surface  of  the  ground,  are  more  open  to,  and  under 
the  influence  of  the  rays  of  the  sun,  whose  natural  tendency  is, 
to  enrich  the  sap,  and  sweeten  and  meliorate  the  fruit  of  every 
tree  on  which  it  shines. 

Your  Peach  trees  being  taken  up  and  prepared,  set  them  in 
the  holes  dug  for  them,  observing  much  the  same  method  as  is 
directed  to  be  observed  in  setting  out  of  Apple  trees,  except 
putting  sods  round  them  of  which  you  will  have  none,  if  your 
ground  has  been  ploughed  as  directed  above. 

After  the  first  year  nothing  should  beraised  upon  a lot  where 
Peach  trees  grow.  Lay  it  down  to  grass,  and  the  second  or 
third  year  sheep  and  geese  may  pasture  upon  it ; and  when  the 
trees  are  considerably  grown,  cows  and  horses  will  not  do  in- 
jury. 

The  Peach  tree  is,  perhaps,  the  most  tender,  or  that  which 
requires  the  nicest  attention  of  any  that  we  cultivate.  It  is  to 
be  guarded  against  a worm,  the  product  of  an  egg  deposited 
by  a fly  near  the  root  during  summer.  It  is  also  liable  to  have 
the  bark  burst  with  frost  during  winter,  and  the  limbs  are  very 
apt  to  split  at  the  top  of  the  trunk  where  they  branch  off.  To 
assist  in  guarding  against  these  dangers,  the  following  remarks 
are  made.  To  guard  againstthe  worm,  hill  the  ground  up  round 
your  trees  early  in  the  summer,  to  the  height  of  twelve  or  four- 
teen inches ; this  necessitates  the  fly  to  lay  its  eggs  that  distance 
up  the  body  of  the  tree,  and  in  the  fall  remove  the  soil  away, 
down  to  the  top  roots,  and  leave  them  bare  during  the  winter. 
By  this  method  the  worm  is  left  to  perish  with  the  cold,  having 
nothing  around  the  trunk  and  root  of  the  tree  during  the  win- 
ter to  shelter  it.  Another  method  is  to  wind  matting  or  straw 
around  the  trunk.  Begin  three  or  four  inches  below  the  sur- 
face of  the  ground,  (which  must  be  removed  for  the  purpose, 
and  brought  back  again,  when  the  matting  or  straw  is  fixed) 
and  put  it  closely  round  the  trunk  of  the  tree,  an  inch  in  thick- 
ness, and  three  or  four  feet  up  ; this  prevents  the  fly  coming  to 
the  tree,  except  so  high  up,  as  that  it  can  do  no  hurt.  The 
straw  or  matting  must  be  removed  during  winter. 

To  prevent  the  branches  splitting  off  from  the  trunk,  prune 
them  well,  and  if  they  are  over-loaded  with  fruit,  pull  off  all 
the  smallest,  and  least  valuable,  so  as  to  lighten  them,  and 
where  you  wish  to  preserve  more  fruit  than  you  think  it  safe 
to  trust  them  with,  prop  the  branches  up  securely  until  the  fruit 
is  taken  off. 

The  bursting  of  the  bark  only  happens  when  severe  frosts 


SECRETS  IN  ARTS,  TRADES,  &c. 


283 


and  wet  succeed  each  other,  it  does  not,  therefore,  so  frequent- 
ly occur,  and  cannot  be  guarded  against,  but  only  in  part  re- 
medied when  it  takes  place. 

We  have  remarked  elsewhere,  upon  the  pruning  of  trees  gen- 
erally; little  more  needs  be  said  upon  the  management  of  Peach 
trees  ; let  it  be  observed,  however,  that  the  branches  of  Peach 
trees  should  be  shortened,  especially  the  first  three  or  four 
years  after  setting  them  out.  The  top  should  not  be  thick  and 
crouded,  nor  should  the  branches  extend  to  a great  length  from 
the  trunk— -and  further,  every  superfluous  branch,  or  one  that 
must  come  off,  the  sooner  it  is  done  the  better,  as  being  small 
the  wound  sooner  heals.  Prune  out  also  all  those  strong  and 
vigorous  looking  sprouts,  or  scions  that  grow  from  the  limbs, 
having  only  one  leaf  bud  at  each  eye,  unless  they  are  wanting 
to  increase  the  top  of  your  tree,  they  are  not  the  bearing  branch- 
es ; those  may  be  known  by  two  small  leaves  where  the  flower 
buds  will  be  the  following  year  ; those  thrifty  growing  scions 
exhaust  the  tree,  and  produce  no  fruit,  until  they  become  trees 
themselves,  either  on  the  old  stock,  or  when  ingrafted  on  a new 
one,  for  which  they  are  wisely  provided  by  nature. 

All  the  strong  and  vigorous  shoots  should  be  pinched  off  the 
first  year  the  tree  bears ; this  will  make  them  throw  out  many 
side  shoots,  which  if  they  do  not  grow  too  thick,  will  make  fine 
bearing  branches  the  following  year. 

Weakly  trees  should  not  be  suffered  to  bear  much  fruit  the 
first  year  or  two,  pick  off  the  buds,  or  fruit  while  very  small, 
that  the  tree  may  recover  strength. 

On  the  culture  of  the  Pear  Tree . 

This  is  perhaps  one  of  the  most  hardy  of  fruit  trees,  and  will 
grow  in  almost  any  soil,  though  a light  loam  suits  it  best.  The 
varieties  of  the  Pear,  are  propagated  by  ingrafting  and  budding, 
or  innoculating,  either  upon  stocks  raised  from  the  pear  seeds, 
called  free-stocks,  or  upon  quince  stocks ; the  latter,  however, 
require  a rich  and  moist  soil.  Pear  trees  require,  both  in  the 
nursery,  and  when  transplanted,  nearlythe  same  attention  as  ap- 
ple trees,  only  being  more  hardy,  are  far  less  subject  to  injury 
from  worms,  caterpillars,  See . If  set  in  orchards,  they  may 
stand  much  closer  than  apple  trees,  as  they  grow  more  upright 
and  the  tops  do  not  require  so  much  room  ; it  is,  however,  of 
advantage  to  this  fruit  also  to  have  the  benefit  of  the  sun  ; for 
which  purpose  the  tops  should  be  pruned  to  lea  e them  as  open 
as  possible  to  its  rays.  The  planting,  pruning,  ingra Ting,  or 
innoculating,  transplanting,  and  future  managing  of  this  tree, 
being  so  similar  to  that  of  the  apple,  that  further  remarks  need 
not  be  made  upon  it. 


2S4  SECRETS  IN  ARTS,  TRADES,  &c. 

On  the  cultivation  of  the  Plum  Tree. 

Almost  every  species,  and  their  many  varieties  of  this  fruit 
tree  require  a light  rich  loam  soil ; they  have  originally  all  been 
raised  from  the  stones,  and  afterwards  propagated  by  ingraf- 
ting on  plum  stocks,  for  which  purpose  the  sloe  tree  or  black 
thorn  is  best.  As  their  cultivation  in  the  United  States  is  very 
similar  to  that  of  the  peach,  (except  that  they  require  richer 
ground)  we  refer  to  that  article  for  a more  particular  descrip- 
tion of  the  process  to  be  observed  in  raising  them.  Being  a 
more  hardy  tree,  they  are  preferred  to  the  peach  stock  itself  to 
ingraft  the  peach  upon,  and  are  frequently  raised  for  that  pur- 
pose. 

On  the  cultivation  of  the  Quince  Tree. 

There  are  three  species  of  Quinces  cultivated,  of  which  the 
Portuguese  is  the  most  valuable.  They  are  propagated  by  lay- 
ers, and  suckers  or  cuttings,  the  last  method  being  calculated 
to  produce  the  greatest  abundance  of  delicious  fruit.  The  first 
of  April  select  the  most  thrifty  and  flourishing  suckers,  cut  the 
large  ends  of  them  square,  and  smooth,  place  the  end  thus  cut 
smooth  upon  a piece  of  iron  heat  red  hot,  for  near  a minute, 
then  put  the  sucker  into  melted  rosin  or  pitch,  to  the  depth  of 
about  a quarter  of  an  inch , this  closes  the  end  of  the  sucker, 
and  renders  it  imperviable  to  water,  thereby  preventing  its  de- 
cay. When  your  suckers  are  thus  prepared,  set  them  to  the 
depth  of  from  six  to  twelve  inches  in  the  ground.  A clay  and 
loamy  soil  suits  quinces  best ; should  the  season  be  dry,  they 
will  frequently  want  watering  for  the  first  spring  and  summer. 
In  the  course  of  two  or  three  years,  they  may  be  removed  from 
the  nursery  to  where  they  are  to  stand,  as  their  permanent  situ- 
ation ; if  this  be  a moist  soil  the  quantity  of  the  fruit  will  be  in- 
creased, and  its  size  larger,  but  if  set  in  dry  situations,  the 
quantity  will  be  less  but  of  a finer  flavor. 

All  suckers  should  be  pruned  from  the  stem  of  bearing 
Quince  trees,  and  the  head  of  the  tree  be  cleared  from  luxu- 
rious shoots  that  strike  upwards  from  the  middle.  A spread- 
ing open  top  suits  this  fruit  best,  and  there  is  more  danger  of 
having  too  many  branches,  than  too  few. 

Early  Pears  are  much  improved  in  taste  and  flavor  by  being 
ingrafted  on  Quince  stoc  s,  for  which  purpose  they  are  fre- 
quently raised. 

On  the  culture  of  the  Gooseberry . 

Gooseberries  may  be  raised  from  cuttings,  from  seeds,  or 


SECRETS  IN  ARTS,  TRADES, 


285 


from  suckers  ; this  last  way  is  not,  however,  recommended,  as 
bushes  raised  in  this  manner,  are  more  apt  to  throw  out 
suckers,  than  those  raised  from  cuttings,  or  seed.  A rich 
loamy  soil  suits  this  plant  best,  and  for  planting  cuttings,  the 
first  of  April  is  the  proper  season.  The  cuttings  should  be 
from  six  to  eight  inches  long,  and  be  set  about  a foot  apart 
each  way  in  rows,  leaving  about  three  inches  of  the  cutting 
out  of  the  ground.  As  they  require  the  ground  to  be  put  in 
good  order,  previous  to  setting  them  out,  so  also  is  it  requisite 
to  keep  it  mellow,  and  clear  of  weeds  until  they  are  fit  for 
transplanting.  Frequent  watering  may  be  necessary  during  the 
first  spring  and  summer,  after  the  cuttings  are  set  out,  especi- 
ally if  the  season  is  dry. 

If  the  soil  and  situation  is  suitable,  and  the  seasons  have  been 
favorable,  they  will  be  ready  for  planting  out  the  third  spring, 
after  they  were  set  out.  Preparatory  to  this,  the  ground 
where  you  mean  to  plant  them,  should  be  well  manured,  and 
ploughed  from  ten  to  fifteen  inches  deep.  Plant  your  goose- 
berries in  rows,  about  six  feet  apart  each  way,  taking  care  to 
cut  out  all  dead  and  superfluous  branches.  The  ground  where 
gooseberries  stand,  should  be  kept  clear  of  weeds,  and  every 
thing  that  would  shade  it,  that  they  may  have  the  full  benefit 
of  the  sun  and  air.  Gooseberries  in  general  bear  their  fruit  on 
wood  of  the  second  years  growth;  care  should  be  taken, 
therefore,  each  spring,  while  pruning  them,  to  preserve  so 
much  of  the  growth  of  the  preceeding  year,  as  will  make  a 
good  bearing  stock  for  the  succeeding  year;  and  to  take  a 
way  all  of  the  bush  that  is  more  than  four  years  old.  The 
middle  of  the  bushes  should  be  kept  clear  in  summer,  to  ad- 
mit a free  air  into  them  ; for  which  purpose  the  finest  and 
strongest  shoots  should  stand  from  six  to  ten  inches  from  each 
other.  Some  give  them  an  autumn,  or  winter  pruning;  thin- 
ing  them  out,  and  shortening  the  bearing  shoots  by  cutting 
them  off’  over  the  first  wood  bud,  above  the  fruit  buds  ; the 
fruit  buds  are  known  by  growing  in  clusters,  whereas  the  wood 
buds  grow  singly. 

During  the  spring,  and  summer,  all  suckers  that  grow  from 
the  roots  (except  such  as  you  want  to  save  to  renew  the  stock) 
should  be  taken  out,  leaving  their  stems  clear  and  unincum- 
bered. 

Gooseberries  are  generally  eaten,  or  used  for  culinary  pur- 
poses before  they  are  ripe  ; yet  being  one  of  the  most  saccha- 
rine productions  we  possess,  they  might  with  more  advantage 
be  made  into  wine.  Each  pound  of  the  juice  expressed  from 
the  ripe  berries  requires  only  one  ounce  of  soft  sugar,  whereas 
the  ripest  currants  require  double  the  quantity  to  induce  the 
vinous  fermentation.  See  further  remarks  upon  currant  and 
gooseberry  wine. 


B b 2 


536  SECRETS  IN  ARTS,  TRADES,  &c} 

XL.  Remarks  on  Pruning  Fruit  Trees . 

To  the  particular  remarks  that  we  have  made  upon  the  pru- 
ning of  fruit  trees  when  treating  of  the  culture  of  the  severaj 
kinds,  we  add  these  general  observations.  The  pruning  of  fruit 
trees  should  be  commenced  in  the  nursery,  and  regularly  con- 
tinued until  you  cut  your  trees  down.  Begin  with  the  first 
superfluous  branches,  that  you  observe  grow  ; by  taking  them 
off  when  quite  small,  far  less  injury  is  done  to  your  trees,  the 
wounds  given  them  soon  heal,  and  few  blemishes  are  left.  You 
can  also  give  your  trees  to  the  shape  and  form  you  wish  them 
to  have,  much  more  easily  when  small,  than  if  left  without 
pruning  till  they  are  large. — American  Editor . 

The  proper  age,  and  season,  for  pruning  fruit  trees,  is  of  the 
first  consequence  ; as  we  seldom  meet  with  an  orchard  that  has 
been  judiciously  managed,  in  this  respect.  To  ensure  success, 
there  is  required  not  only  the  eye  of  an  accurate  observer,  but 
also  a complete  knowledge  of  the  various  kinds  of  fruit  bearing 
trees,  their  peculiar  natures,  and  habits ; because  almost  every 
different  sort  must  be  treated  in  a different  manner.  Many  of 
these  commonly  produce  their  fruit  on  the  shoots  of  the  pre- 
ceding year,  such  as  peaches,  nectarines,  &c.  others  again  on 
branches  which  have  attained  the  age  of  three,  five,  fifteen,  or 
twenty  years  ; for  instance,  pears,  plums,  cherries,  &c.  For 
the  proper  nursing  and  training  of  all  these  trees,  it  will  be  in- 
dispensably requisite  to  attend  to  this  circumstance,  that  a suf- 
ficient portion  of  fertile,  or  bearing  wood  be  left  in  every  part 
of  the  tree  ; at  the  same  time  it  would  be  prejudicial  to  the 
growth  and  health  of  a tree,  to  leave  too  many  useless  branches 
which  only  tend  to  exhaust  their  nutritive  powers  and  event- 
ually to  accelerate  their  decay. 

On  the  whole,  it  deserves  to  be  noticed  that  peaches,  nec- 
tarines, apricots,  cherries  and  plums  will  thrive  more  vigo- 
rously, when  they  are  pruned  with  a sparing  hand ; as  other- 
wise, they  are  apt  to  bleed  profusely,  or  to  part  with  such  a 
quantity  of  gum,  as  will  often  prove  fatal  ; hence  the  safest 
method  is,  to  remove  superfluous  twigs  as  soon  as  they  ap- 
pear. By  such  management,  the  trees  above  aluded  to,  may 
be  preserved  in  a prosperous  condition  ; and  they  will  grow 
with  greater  regularity,  and  less  trouble,  than  by  the  common 
method  of  clipping  them  promiscuously. 

Apple,  pear,  plum,  and  cherry  trees  yield  their  fruit  on 
young  sprigs  that  proceed  from  boughs  of  several  years  growth, 
a sufficiency  of  such  branches  should,  therefore  be  left,  that 
room  may  be  afforded  for  the  quantity  of  fruit  that  the  tree  is 
supposed  able  to  bear.  On  the  contrary  as  peaches  and  nec- 
tarines bear  their  fruit  mostly  on  branches  of  the  preceding 
years  growth,  such  branches  should  be  left  in  numbers  pro- 


SECRETS  M ARTS,  TRADES,  &c. 


?$? 

portioned  to  the  degree  of  strength  observed  in  the  tree  ; and 
to  make  room  for  a future  stock,  cut  out  those  that  have  al- 
ready borne  fruit  for  one  or  two  years  past,  never  leaving  more 
of  such  small  branches  upon  any  main  limb  of  a tree  than  it 
seems  capable  of  supporting. 

XLI.  Method  of  fireventing  the  destruction  of  Apple 
Trees  by  Canker  Worms . 

The  insects  from  which  the  canker  worms  are  produced* 
are  hid  in  the  ground,  near  the  root  of  the  tree,  not  far  from 
the  surface,  and  make  their  appearance,  as  soon  as  the  snow  is 
off,  and  the  top  of  the  ground  soft  (which  sometimes  happens 
as  early  as  February).  The  males  have  wings,  and  frequently 
fly  directly  to  the  limbs,  without  touching  the  body  of  the  tree; 
fortunately  the  females  have  none,  but  are  a very  clumsy  bug, 
and  very  easily  stopped  by  tarring  the  tree.  To  do  this  witk 
success,  it  is  very  necessary  that  the  tar  made  use  of,  be  of  a pro- 
per consistence.  Tar,  that  being  exposed  to  the  sun  through 
the  day,  becomes  so  soft,  as  that  it  can  be  laid  on  with  a brush, 
is  the  kind.  The  rough  bark  should  be  first  scraped  off  with  a 
hoe,  or  some  convenient  instrument,  and  the  tar  put  round  the 
tree  about  four  inches  wide  ; this  must  be  repeated  every  day 
when  the  state  of  the  ground  will  permit  them  to  move,  till 
they  have  done  going  up.  As  they  seldom  begin  to  move  till 
the  middle,  or  last  of  March,  if  the  weather  continues  warm, 
they  will  all  be  out  of  the  ground  in  about  fourteen  days  ; it 
will  generally  be  necessary,  however,  to  tar  twenty  times,  per- 
haps oftener,  as  they  are  sometimes  interrupted  with  snow,  or 
cold.  The  time  generally  chosen  to  begin,  is,  about  two  hours 
before  sun  set,  (which  is  the  time  the  insects  begin  to  move)  and 
if  not  finished  till  an  hour  after  the  sun  is  down  (after  the  first 
time)  it  is  immaterial,  for  the  tar  that  is  already  on  the  tree, 
softened  by  the  warmth  of  the  sun,  will  be  sufficient  to  stop 
them  till  that  time.  A barrel  of  tar  will  be  sufficient  to  do  an 
orchard  that  will  make  an  hundred  barrels  of  cyder  ; and  four 
persons  in  two  hours  will  be  able  to  tar  the  whole  once  over* 
If  the  tre£  be  thrifty,  it  will  be  necessary,  some  time  in  the 
summer  following,  to  scrape  off  the  tar,  or  make  a few  incis- 
sions  through  it,  to  prevent  the  bark  from  being  confined* 

Remarks  on  the  culture  of  Fruit  Trees . 

Seedlings  from  apples  will  scarcely  ever  produce  fruit  exact- 
ly similar  to  the  original,  yet  may  produce  excellent  fruit,  some 
ev|n  superior  to  that  from  which  the  seeds  are  taken.  Seeds 
from  the  largest  and  best  kind  of  fruit,  and  from  trees  of  a strong 
and  rapid  growth,  should  be  taken  to  plant.  Young  trees, 
which  produce  a strong  ^hoot,  and  large  rich  looking  l$a& 


S88 


SECRETS  IN  ARTS,  TRADES,  Sec. 


should  be  left  to  bear  fruit,  before  being  grafted:  such  gene- 
rally bear  fruit  of  a good  quality. 

It  is  best  to  perform  the  operation  of  grafting  in,  or  near  the 
ground,  except  on  such  stems  as  incline  horizontally,  or  are 
small  weak  shoots  ; these  may  be  grafted  high  enough  to  form 
a top.  The  nature  of  the  stock  grafted  upon,  has  great  influ- 
ence upon  the  fruit,  in  respect  to  bearing,  size,  and  flavor,  and 
also  on  the  durability  of  the  tree.  If  possible,  winter  fruit 
should  be  grafted  upon  a stock  which  naturally  would  bear 
winter  fruit ; summer  fruit  upon  a summer  stock,  &c.  All 
fruit  will  in  some  degree  partake  of  the  nature  of  the  original 
stock,  even  in  their  disposition  to  bear  annually  or  biennially, 
to  bear  early  or  late  fruit  and  to  bear  fruit  good  for  keeping, 
or  liable  to  quick  decay. 

€ In  nothing  so  much  as  pruning  is  great  care  necessary,  and 
experimental  knowledge  useful.  In  general  it  may  be  observed 
that,  apple  trees  should  be  so  pruned, as  to  leave  a round,  even, 
open,  and  rather  flat,  than  high  top,  if  any  difference  is  made, 
let  there  be  more  branches  on  the  west  and  south  west  sides, 
than  on  the  opposite  ; this  is  to  shelter  the  trunk  of  the  tree 
from  the  direct  rays  of  the  sun,  which  is  frequently  injurious. 
A top  formed  upon  the  foregoing  plan  of  pruning,  will  be  most 
benefitted  by  the  warmth  of  the  sun,  the  dews,  and  rain,  and 
most  conduce  to  the  regular,  and  quick  growth,  and  great 
duration  of  the  tree ; the  fruit  also  will  be  better  in  quality, 
and  more  in  quantity,  than  if  the  top  is  crowded  together. 

Pruning  should  commence  the  second  or  third  year  after 
your  trees  have  sprouted  from  the  ground,  or  so  soon  as  you 
see  unnecessary,  useless,  or  hurtful  branches  growing  upon 
them.  The  sooner  these  are  cut  off,  the  sooner  the  wounds 
heal ; and  pruning  should  be  continued  every  year  until  your 
trees  are  finally  cut  down. 

Pennsylvania  method  of  preventing  the  worm  injuring 
Peach  Trees . 

Clear  away  the  gum  that  issues  out  of  the  tree  affected  by 
the  worm,  strew  a little  flour  brimstone  round  the  root,  cover 
it  lightly  with  fine  mould,  that  it  may  not  blow  away,  yet  so 
that  the  sun  may  operate  through,  and  cause  the  brimstone  to 
fumigate,  which  destroys  the  worm.  One  pound  of  brimstone 
will  be  sufficient  for  near  two  hundred  trees. 

XLII.  On  Thorn  Hedges . 

The  most  permanent  hedge  fence  is  the  thorn  ; but  being 
troublesome  to  propogate,  and  slow  in  its  growth,  we  thinka 
few  words  upon  its  culture,  will  not  be  unimportant  to  far- 
mers. ' y. 


289 


SECRETS  IN  ARTS,  TRADES,  &c. 

The  acquisition  of  quicks  has  hitherto  been  the  greatest 
difficulty.  But  the  writer  happily  has  learned  the  method 
practised  by  those  who  follow  raising  quicks  in  Europe,  and 
which  he  with  pleasure  communicates  to  the  public.  Gather 
the  haws  when  full  ripe,  perhaps  in  November;  dig  a pit  or 
hole  in  a dry  bank  or  hill,  from  two  to  three  feet  deep;  put  in 
the  bottom  a layer  of  dry  straw  ; throw  your  haws  upon  the 
straw,  and  cover  them  with  the  same,  then  fill  in  the  earth,  and 
do  it  up  so  neatly,  as  to  prevent  the  water  soaking  to  them. 
In  March,  or  April  according  to  the  season,  raise  them,  and 
with  an  open  riddle,  sift  the  sand  or  mould  from  them  (though 
getting  them  clear  is  no  way  material):  they  will  now  be  clear 
of  their  meat,  and  just  their  nut  or  kernel  remaining,  which 
immediately  sow  in  beds  of  well  prepared  ground,  nearly  in 
the  same  manner  parsnips  are  sowed,  leaving  sufficient  space 
between  for  a person  to  pass  to  weed  them.  It  should  be  ob- 
served, that  the  nearer  the  quality  of  the  soil  in  which  they  are 
sown,  is  like  that  into  which  they  are  to  be  transplanted,  the 
more  likely  they  are  to  thrive,  after  being  removed ; and  by 
the  way,  the  same  remark  may  be  made  upon  every  product 
of  the  vegetable  kingdom.  If  the  ground  for  the  haws,  be  well 
prepared,  they  will  come  up  as  soon  as  any  garden  seeds ; and 
if  kept  clean  and  weeded,  they  may  be  transplanted  in  hedges 
in  two  years. 

In  no  stage  of  the  business  of  raising  hedges,  is  there  more 
errors  committed,  than  preparing  to  transplant  them.  Some 
suppose  that  a bank,  three  or  four  feet  high,  should  be  raised, 
to  set  them  upon,  even  upon  high  and  sandy  land ; others  are 
of  opinion  that  a ditch  should  be  dug  to  set  them  in,  and  that 
when  upon  a low  flat  clayey  soil.  These  methods,  common 
sense  should  inform  us,  were  the  extremes  of  error.  T here 
are  some  soils  where  neither  bank,  or  ditch  is  required,  and 
where  either  would  be  injurious.  In  such,  no  other  prepara- 
tion is  necessary,  than  to  draw  two  or  three  deep  furrows, 
throwing  the  soil  on  each  side  towards  the  centre,  or  where 
the  hedge  is  to  stand  ; then  by  one  furrow,  open  a channel  to 
set  your  thorn  plants  in.  In  fact,  could  your  land  have  two  or 
three  good  ploughings,  the  autumn  previous  to  your  setting 
them  out,  it  would  be  a good  preparation.  If  you  desire  to 
have  a good  hedge,  set  two  or  three  rows  of  plants,  five  or  six 
inches  from  each  other,  and  the  plants  in  each  row,  about  the 
same  distance  apart,  always  letting  a plant  in  one  row,  stand  a- 
gainst  a vacancy  in  another.  As  it  is  of  great  advantage  to 
have  your  ground  in  good  order,  previous  to  setting  out  your 
hedges,  so  also  is  it  necessary  to  keep  it  clear  of  weeds,  stones, 
and  every  thing  that  could  obstruct  the  growth  of  your  young 
plants  ; many  a promising  hedge  has  been  completely  choaked 
up,  by  having  small  stones  thrown  into  it,  till  the  thorns  could 


290 


SECRETS  IN  ARTS,  TRADES,  &c. 


no  longer  grow.  Large  trees  should  not  be  suffered  to  grow  in 
a hedge  ; their  shade  hinders  the  growth  of,  and  finally  kills 
the  thorns. 

From  the  remarks  made  upon  setting  out  hedges,  where 
neither  bank  or  ditch  is  required,  the  variations  necessary  to 
be  made,  in  different  soils  will  be  obvious  to  every  intelligent 
farmer.  la  low  fiat  clay  land,  a bank  may  be  required  one, 
two,  three,  or  even  four  feet  high  ; these  should  always  be  of 
sufficient  width  for  two  or  three  rows  of  thorns,  the  same  as  if 
planted  without  a bank.  Where  a bank  is  required,  it  should 
always  be  thrown  up  long  enough  before  hand,  for  the  inner 
turf,  &c.  to  become  mellow,  and  fit  to  receive  the  thorns.  It  is 
hardly  necessary  to  observe  again,  that  the  ground  should  be 
put  in  a good  state  of  preparation,  and  be  kept  clear  of  weeds, 
stones,  See.  as  much  when  your  hedge  is  on  a bank,  as  when  it 
is  on  a level. 

With  respect  to  planting  in  ditches,  it  can  so  rarely  be  done 
to  advantage,  that  it  is  not  worth  while  to  remark  upon  it. 

It  will  perhaps  be  expected  that  something  should  be  said 
upon  pruning  of  hedges.  If  set  as  thick  as  they  ought  to  be 
(and  while  doing  it,  very  little  more  trouble  or  expence  is  re- 
quired to  set  them  thick,  than  to  set  them  thin,  provided  you 
have  a supply  of  plants)  they  will  require  no  lopping  or  top- 
ping, especially  for  the  first  three  or  four  years  ; such  branches 
as  grow  out  on  each  side  should  be  cut  off,  once  a year,  with  a 
proper  pair  of  hedge  or  prugMg  shears.  This  is  a work  that 
may  be  very  expeditiously  fprformed  by  a person  acquainted 
with  the  process,  and  having  proper  shears.  It  would  also, 
much  forward  the  growth  of  your  hedge  to  loosen  the  soil 
round  the  roots,  once  or  twice  a year,  for  the  first  three  or  four 
years  after  it  was  set  out ; this  would  give  an  opportunity  of 
clearing  out  every  thing  that  was  likely  to  hinder  the  growth 
of  your  plants.  Let  it  always  be  remembered,  that  a thorn 
hedge  should  have  nothing  but  thorns  in  it,  the  same  as  a corn- 
field should  have  nothing  but  corn  in  it ; and  that  the  same  soil 
and  nearly  the  same  cultivation,  is  most  suitable  to  both. 

Should  pains  be  taken  to  plant  your  haws  in  rows  across 
your  field  or  nursery,  they  may  be  taken  up  with  a plough,  and 
if  planted  in  a furrow  again,  the  trouble  of  transplanting  a 
hedge  will  be  reduced  to  a mere  trifle. 

XLIiX.  Further  remarks  on  Hedges. 

In  forming  outside  Hedges,  the  plants  ought  to  be  as  nearly 
as  possible  of  one  size,  about  one  third  of  an  inch  in  diameter, 
freshly  taken  up,  straight,  smooth,  and  well  rooted  with  latte- 
ral,  or  side  roots,  which,  if  this  is  the  case,  the  tap  or  main 
root  may  be  taken  off  with  a sharp  knife. 


SECRETS  IN  ARTS,  TRADES,  Sec. 


291 


In  England  the  best  season  for  transplanting  them  is  in  the 
Autumn,  but  in  most  parts  of  the  United  States  the  Spring  is 
considered  as  the  best  time  to  insure  the  growth  of  the  trees  or 
plants  transplanted.  The  young  hedge  ought  to  be  particular- 
ly attended  to  during  the  first  two  or  three  years,  after  being 
set  out,  because  if  it  be  then  neglected,  no  future  care  can  reco- 
ver it.  The  tap  shoots  must  not  be  cut,  but  the  sides  should 
be  regularly  pruned  for  some  years, while  the  enclosure  is  young. 
It  is  only  by  strictly  following  this  practice  that  the  hedge  will 
attain  a proper  degree  of  closeness  and  strength. 

To  increase  the  number  of  latteral  roots,  let  them  be  once  a 
year  cut  off,  by  forcing  a sharp  edged  spade  straight  down, 
with  the  back  of  the  spade  next  the  thorns,  on  each  side  of  the 
rows  as  they  stand  in  the  nursery.  The  first  year  let  this  be 
done  quite  close  to  the  rows,  so  as  to  cut  off  the  greatest 
part  of  the  latteral  roots  as  near  the  plants  as  possible;  and 
each  succeeding  year,  cut  off  the  latteral  roots  a little  further 
from  the  rows.  This  operation  will  much  increase  the  num- 
ber of  iatteral  roots. 

The  excellence  of  a Hedge  does  not  consist  in  having  but  few 
plants  set  out,  and  from  the  roots  of  these  a many  little,  weak 
and  puny  branches  growing ; but  in  having  a many  plants  set 
out,  and  one  good  thriving  body  or  stalk  growing  from  each 
root.  While  they  are  in  the  nursery  but  one  stalk  or  body* 
should  be  permitted  to  grow  from  each  root,  until  they  attain 
the  heighth  of  twelve  or  fifteen  inches.  A little  care  in  rubbing 
off  the  buds  round  the  lower  part  of  the  stem,  each  spring  will 
prevent  branches  growing. 

Care  should  be  taken  to  preserve  in  your  nursery,  plants  to 
fill  the  vacancies  that  may  happen,  which  should  be  attended 
to  each  succeeding  spring  until  the  Hedge  is  completely  set  out, 
and  growing  in  a flourishing  manner.  Perhaps  a Hedge  would 
be  much  improved  if  the  plants,  where  you  set  two  or  more 
rows,  were  set  leaning  across  each  other  in  this  manner. 


The  utility  of  this  plan  should,  however,  be  tested  by  experi- 
ence, before  being  generally  adopted. 

The  American  Black  Thorn  is  said  to  be  that  which  does 
best  in  the  United  States ; next  to  this  is  the  English  white 
thorn.  Besides  these  two,  the  elm,  the  willow,  the  iombardy 
poplar,  whins  or  furze,  the  alder,  and  the  apple-tree  are  all  of 
them  taken  to  make  hedges  ; and  though  some  of  them  answer 
very  well,  if  properly  set,  none  of  them  are  equal  to  the  thorn. 

It  is  hardly  necessary  to  add  a word  upon  the  great  necessi- 


2 92 


SECRETS  IN  ARTS,  TRADES,  &e. 

ty  of  the  farmers  in  the  United  States,  and  especially  near  the 
large  towns,  turning  their  attention  to  the  planting  of  Hedges. 
The  increasing  scarcity  of  suitable  fencing  stuff,  will  shortly 
compel  them  to  seek  for  a substitute  for  the  expensive,  perish- 
able, naked  fences  with  which  their  lands  have  hitherto  been  en- 
closed. 

XLIV.  On  the  cultivation  of  the  Chesnut  Tree . 

This  tree  being  very  valuable  for  many  purposes,  ought  to  be 
carefully  attended  to  by  the  people  of  the  United  States.  The 
durability  of  the  timber,  the  facility  with  which  it  can  be  split, 
the  little  sap  it  contains,  compared  with  most  other  trees,  and 
the  quickness  of  its  growth,  all  recommend  it  to  the  attention 
of  every  lover  of  rural  economy ; not  to  mention  the  value  of 
the  nuts,  which  are  no  inconsiderable  article  of  profit. 

The  timber  of  old  Chesnut  trees  having  been  found  by  expe- 
rience to  be  more  brittle  than  that  of  young,  it  is  recommended 
that  they  be  not  suffered  to  stand  longer  than  while  they  con- 
tinue growing.  If  cut  while  they  will  square  from  six  to  eight 
Inches,  the  timber  is  very  durable,  having  but  little  sap  compa- 
red with  other  trees. 

This  tree  may  be  propagated  by  planting  the  nuts,  which 
should  be  left  in  the  burr,  as  a defence  against  field  mice,  the 
Spring  is  recommended  as  the  best  time  for  planting. 

Your  seed  may  be  selected  either  from  the  Chesnuts  of  Spain, 
Portugal,  or  the  United  States,  and  either  the  common  small, 
or  Horse  Chesnut ; the  latter  is  recommended  where  the  object 
is  the  timber,  and  not  the  fruit. 

In  the  culture  of  this  tree  (and  indeed  of  all  forrest  trees)  we 
shall  probably  differ  from  all  nursery  men,  and  gardeners,  who 
have  heretofore  wrote  upon  the  subject.  Instead  of  recom- 
mending them  to  be  planted  in  nursery’s,  and  afterwards  trans- 
planted to  the  fields  where  they  are  to  grow,  we  advise  to  plant 
them  in  the  field  at  once,  making  a nursery  of  that,  and  save 
the  trouble  of  transplanting. 

The  transplanting  of  forest  trees  can  only  be  recommended 
where  the  use  of  a few  acres  of  land  for  three  or  four  years,  is 
a very  material  object,  and  where  labour  is  poorly  rewarded  ; 
no  other  circumstance  can  induce  the  planting  in  nurseries. 

As  in  no  part  of  the  United  States,  (except  in  the  neighbor- 
hood of  large  cities)  is  the  use  of  a few  acres  of  land  of  such 
material  value,  we  recommend  the  preparing  of,  and  planting 
the  whole  of  the  land  you  wish  to  cover  with  forrest  trees, 
whatever  the  kind  may  be  ; and  in  the  planting  of  Chesnuts  the 
following  directions  will  be  of  use  to  observe. 

The  Chesnut  may  be  planted  upon  almost  every  soil,  but 
moist  or  marshy  lands.  A light  loam,  or  loam  and  sandy  soil 


293 


SECRETS.  IN  ARTS,  TRADES,  Ac. 

suits  it  best.  Let  the  fields  that  you  are  going  to  plant,  be 
ploughed  two  or  more  times  the  summer,  and  fall,  preceding 
the  spring  when  you  intend  to  plant  ; this  ploughing  should, 
if  possible,  be  to  the  depth  of  twelve  or  fifteen  inches.  If  your 
land  be  thoroughly  broken  up,  and  made  mellow  in  the  fall, 
no  spring  ploughing  will  be  necessary ; if  not,  it  will  be  requi- 
site to  plough  it  again  in  the  spring,  and  harrow  it  level; 
Should  it  not  require  ploughing  in  the  spring,  it  maybe  plant- 
ed somewhat  earlier,  and  in  either  case  you  must  plant  as  soon 
as  the  season  will  permit. 

When  your  land  is  in  proper  order  for  planting,  proceed  to 
set  your  nuts,  or  nuts  in  the  burrs,  making  a drill  with  a hoe 
about  four  inches  deep,  and  not  less  than  twelve,  nor  more 
than  eighteen  inches  apart  each  way  throughout  your  field. 
Possibly  steeping  the  nuts,  or  the  burrs  (if  planted  in  burrs) 
previous  to  planting  them,  might  be  of  advantage,  perhaps  as 
much,  or  more  so,  than  steeping  grain  ; I do  not  recollect, 
however,  that  this  method  has  been  tried,  but  this  much  we 
may  remark,  that  the  seeds  of  every  vegatable  production,  that 
nature  plants  without  our  assistance,  is,  previous  to  its  sprout- 
ing, steeped  by  a winters  rain  or  snow.  How  far  we  can  bene- 
fit by  taking  the  hint,  and  steeping  all  such  seeds  as  we  save 
dry  through  the  winter,  experience  must  determine. 

My  reasons  for  planting  the  seeds  of  forest  trees  in  the  fields 
where  they  are  to  grow,  are,  1st,  that  most,  if  not  all  vegetable 
productions  flourish  best  when  they  originally  sprout  in  that 
soil  where  they  are  destined  to  grow.  2dly,  that  the  trouble 
and  expence  of  transplanting  them  is  saved,  fidly,  the  risk  of 
transplanting  them  is  avoided.  4thly,  the  expence  and  trouble 
of  preparing  the  ground  to  plant  them  in,  in  the  first  instance. 
Is  no  more  than  the  expence  and  trouble  of  preparing  the 
groud  to  transplant  them  to  in  the  second  case,  and  5-thly,  the 
trouble  of  atttending  them  is  increased  in  a very  inconsiderable 
degree. 

It  should  be  remarked  further,  that  they  are  recommended 
to  be  planted  much  closer  together  than  they  can  possibly  con- 
tinue  to  grow  long ; this  is  a provision  against  apart  of  them  fail- 
ing ; it  is  also  extremely  beneficial  to  young  trees  to  grow  so 
near  together,  as  that  their  joint  shade  may  nearly  cover  the 
ground  in  summer,  and  their  joint  stock  of  leaves  cover  the 
ground  in  winter,  their  roots  are  thereby  kept  warm,  and  a 
valuable  manure  is  spread  upon  the  ground. 

It  is  perhaps  one  of  the  wisest  provision  of  nature,  that  the 
^decayed  substances  of  each  kind  of  vegetable,  is  the  bevst  ma- 
nure for  to  aid  and  assist  in  reproducing  such  vegetable.  In 
this  view  the  decayed  leaves,  the  young  trees,  and  the  decayed 
roots  of  such  trees  as  are  taken  out  to  thin  them,  will  very 
much  benefit  the  trees  that  remain. 

C c 


29-4 


SECRETS  IN  ARTS,  TRADES,  Sec. 


For  four  or  five  seasons  after  planting  your  trees,  they 
should  have  at  least  one  dressing  with  a hoe  in  each,  season,  to 
keep  down  weeds,  &c.  and  to  make  the  ground  mellow  ; the 
dressing  that  they  may  want,  will  much  depend  upon  the  pre- 
vious preparation  that  the  ground  has  had,  and  the  state  it  was 
in  at  the  time  of  planting. 

Upon  thining  them  out,  either  by  digging  them  up,  or  cut- 
ting them  down,  we  remark  that  the  smallest  and  least  flourish- 
ing plants  should  always  be  taken,  leaving  the  best  to  grow, 
that  they  should  be  taken  out,  evenly  over  the  field,  and  be  ta- 
ken out  no  faster,  than  just  to  leave  room  for  those  left  stand- 
ing, to  grow,  and  keep  the  ground  shaded. 

Chesnuts,  upon  a congenial  soil,  plated  and  dressed  in  the 
manner  above  directed,  would  in  six  or  seven  years  afford  a 
considerable  profit  from  the  cuttings,  and  would  shortly  pay  a 
sum  equal  to  the  interest  of  the  cost  ot  the  land,  and  the  ex- 
pence of  planting;  this  income  would  increase  till  you  might 
think  proper  to  cut  you  forest  down,  which,  supposing  it  to 
be  at  the  end  of  fifty  years,  the  income  would  probaby  be  for 
the  last  twenty  years  not  less  than  one  hundred  per  cent  per 
annum.  In  a country  like  the  United  States,  where  property 
is  secured  to  its  rightful  owners,  a more  productive  legacy 
could  not  be  left  by  a parent  to  an  infant,  than  a plantation  of 
chesruit  trees. 

Among  the  various  uses  to  which  the  nut  may  be  applied, 
that  of  making  paste  for  shoe-makers,  book-binders,  card  man- 
ufacturers, and  paper  hangers,  are  not  the  least.  To  prepare 
it  for  their  respective  uses,  takeoff  the  hard  shell,  as  well  as  the 
inner  skin  ; then  divide  it  into  three  or  four  parts,  let  it  be  dried 
•Iiard  in  an  oven,  and  reduced  to  a fineflour,  either  in  a morter,  or 
mill;  to  this  flour,  rain  or  other  soft  water  is  added,  and  the 
whole  stirred  well  together  till  it  acquire  the  proper  consistance 
of  paste.  This  paste  possesses  a great  advantage  over  the 
common  size ; as  no  moths,  or  vermin,  will  breed  in  the  arti- 
cles cemented  with  it.  Should  it  be  necessary  to  let  this  paste 
stand  more  than  forty-eight  hours  after  being  made,  before  us- 
ing, it  is  apt  to  sour,  or  become  mouldy  ; to  prevent  this,  let  a 
little  alum  be  dissolved  in  the  water  before  using  it ; such  pre- 
caution, however,  is  not  necessary,  when  intended  for  imme- 
diate use, 

XLV.  Remark*  on  the  culture  of  the  Oak . 

In  speaking  of  the  chesnut,  we  have  remarked  generally  upon 
the  cultivation  of  forest  trees.  As  each  kind  will,  however, 
require  some  little  variation,  either  in  soil  and  situation,  or  in 
their  management  at  some  period  of  their  growth,  we  shall  oc- 
casionally remark  upon  each  particular  forest  tree,  the  cultiva- 
tion of  which  we  think  it  important  to  recommend. 


295 


SECRETS  IN  ARTS,  TRADES,  &c. 

The  oak  thrives  better  in  hilly  than  in  boggy  ground,  but 
flourishes  most  luxuriantly  on  rich  black  soils,  or  in  strong 
moist,  deep  loams  ; and,  while  it  is  young,  in  large  planta- 
tions. 

The  best  method  of  propagating  it,  is,  by  sowing  the  acorns 
in  ground  prepared  as  for  a nursery.  They  should  be  sowed 
so  thick  as  to  be  a protection  to  each  other,  from  the  heat  of 
summer,  and  cold  of  winter,  perhaps  every  nine  or  twelve  in- 
ches each  way  over  your  field.  Could  they  be  planted  with  a 
drill,  it  would  save  time,  less  acorns  would  be  taken,  and 
they  would  be  more  equally  and  regularly  distributed  over  the 
ground. 

As  they  advance  in  size,  select  the  stronger  ones  to  stand, 
and  occasionally  cut  the  weaker  ones  down.  The  roots  of  the 
oak  strike  deeply  into  the  ground;  transplanting  of  them,  there- 
fore, should  not  be  thought  of,  as  they  rarely  grow  well  if  re^ 
moved  from  where  they  originally  sprout. 

This  tree  is  remarkable  for  the  slowness  of  its  growth,  its 
great  bulk,  and  longevity.  It  is  observed  that  the  trunk  in 
general  does  not  attain  to  more  than  from  fourteen  to  eighteen 
inches  in  diameter,  in  the  course  of  eighty  years.  But  after 
ariving  at  a certain  age  its  bulk  rapidly  increases. 

So  many  are  the  uses  to  which  the  various  parts  of  this  valu- 
able tree  may  be  applied,  it  is  unnecessary  to  urge  any  thing  in 
recommendation  of  its  culture.  To  increase  the  strength, 
weight,  hardness,  and  durablity  of  the  timber,  the  tree  should 
be  barked,  and  left  standing  for  three  or  four  years  ; it  thus  be- 
comes perfectly  dry,  and  the  inspissated  sap  renders  it  much 
stronger  than  the  heart  of  any  other  oak  tree,  which  has  not 
been  stripped  of  its  bark. 

Besides  the  timber,  the  bark,  the  leaves,  the  acorns,  the 
galls,  the  oak-apples,  or  their  expressed  juice,  are  useful  in  va- 
rious manufactories. 

In  forming  plantations  of  the  oak,  pains  should  be  taken  to 
procure  the  acorns  from  the  most  valuable  species,  and  from 
thrifty  growing  trees  of  a middle  age.  The  following  are  the 
kinds  considered  most  valuable.  The  white  oak,  great  black 
oak,  Spanish  oak,  iron  oak,  and  (for  the  southern  states),  the 
live  oak,  ill  of  which  are  worth  the  attention  of  those  who  wish 
to  improve  the  value  of  their  estates. 

XLVI.  On  the  cultivation  of  the  Poplar  Tree . 

Of  the  various  species  of  this  tree,  the  Italian,  or  lombardy 
poplar  is  thought  to  be  the  most  useful,  and  ornamental.  All 
the  kinds  of  poplars  may  be  propagated  either  by  iayers,  cut- 
tings, or  suckers,  which  should  be  planted  in  a nursery  two  or 
three  years  previous  to  their  removal.  The  most  proper 


296 


SECRETS  IN  ARTS,  TRADES,  &c. 


time  for  planting  suckers  is  in  the  month  of  April.  If  cut  from 
twelve  to  eighteen  inches  long,  and  set  from  eight  to  twelve 
inches  in  the  ground,  they  wiil  speedily  takeroot,  and  if  the  soil 
be  moist,  will  in  a few  years  attain  to  a considerable  size. 

. The  lombardy  poplar  is  a native  of  the  northern  parts  of 
Italy  ; it  also  flourishes  in  moist  situations ; but  will  not  suc- 
ceed if  its  roots  are  too  long  covered  with  water.  On  account 
of  its  rapid  growth,  this  species  is  greatly  esteemed  for  orna- 
mental plantations  ; its  cuttings  are  useful  for  hop  poles;  the 
wood  being  soft,  free  from  knots,  and  easily  worked,  it  is 
much  employed  by  joiners,  carpenters,  and  cart-wrights ; it 
may  be  wrought  into  very  flexible  shafts  for  carriages,  or  fel- 
lies for  wheels.  Farther,  it  forms  excellent  masts  for  small 
vessels,  and  when  sawed  into  boards,  is  excellent  for  packing 
boxes,  because  yielding  to  the  nail,  it  is  not  liable  to  split. 
Lastly,  it  appears  from  numerous  experiments,  that  the  Italian 
poplar  affords  a dye  of  as  delicate  a lustre,  and  equally  du- 
rable, as  the  finest  yellow  wood;  its  tinging  matter  is  more 
readily  extracted,  but  instead  of  striking  a proper  green  with 
indigo  it  changes  into  an  olive  shade.  The  dry  branches  are 
preferable  to  those  in  a green  state ; nor  should  they  be  cut,  or 
bruised  ; being  possessed  of  the  property  of  fixing  the  colours 
obtained  from  Brazil  and  logwood. 

XL VII.  Method  of  destroying  Ccitter fiillar s ufion 

Trees. 

Take  live  coals  (of  wood)  in  a chaffing  dish  ; throw  thereon 
some  pinches  of  brimstone  in  powder  ; place  the  same  under 
the  branches  that  are  loaded  with  caterpillars.  The  vapour 
of  the  sulphur,  which  is  mortal  to  these  insects,  will  not  only 
destroy  all  that  are  on  the  tree,  but  prevents  its  being  infested 
by  them  afterwards.  A pound  of  sulphur  will  clear  as  many 
trees  as  grow  on  several  acres.  A chaffing  dish,  or  something 
to  contain  the  coals  may  be  fixed  upon  a pole,  and  put  near  to 
their  nests. 

XL  VII I.  A certain  cure  for  the  Measles  in  Swine . 

About  once  a week,  mix  two  spoonfulls  of  madder  in  their 
food,  and  on  some  other  day  in  the  week  give  a spoonful  or 
two  of  an  equal  quantity  of  flour  of  sulphur  and  salt  petre  well 
pounded  and  mixed.  These  may  be  given  in  their  food. 


SECRETS  IN  ARTS,  TRADES,  See. 


297 


CHAP.  XIX. 


Essays  in  Domestic  Economy,  STc. 

I.  To  make  Cyder  that  'will  keeji  any  length  of  time , 
without  the  trouble  of  frequently  drawing  off. 

Take  the  largest  cask  you  have,  from  a barrel  upwards  ; take 
out  one  head,  put  in  a few  sticks,  so  as  to  raise  a vacancy  of 
two  or  three  inches  from  the  bottom ; over  these  sticks  lay  a 
clean  old  blanket,  or,  if  that  be  not  at  hand,  a quantity  of  the 
swingling  of  flax,  so  as  to  make  a coat  of  about  a quarter  of  an 
inch  thick  when  it  is  well  pressed  down  ; then  put  in  so  much 
clean  washed  sand  from  a beach  or  road,  as  will  cover  about 
six  or  eight  inches  in  depth  ; have  this  cask  fixed  where  you 
can  conveniently  pour  your  Cyder  on  this  filterer,  and  draw  it 
off.  Then  first  pass  your  Cyder  through  a cloth  as  it  comes 
from  the  press,  which  fakes  out  the  pumice,  and  then  pour  it 
gently  upon  the  sand,  through  which  it  must  be  suffered  to  fil- 
ter gradually,  and  be  drawn  off  by  a tap  fixed  in  the  side,  and 
near  the  bottom  of  your  vessel.  By  this  easy  method  your 
Cyder  will  be  made  as  clear  as  could  be  expected,  after  the 
most  laborious  process  of  refining ; and  all  the  mucilaginous 
matter,  which  causes  the  fermentation  and  souring  of  Cyder, 
will  be  so  separated  as  to  prevent  that  disagreeable  consequence. 

N.  B.  Other  methods  may  easily  be  invented  of  passing  the 
Cyder  through  the  sand,  which  is  the  only  essential  part  of 
the  above  process. 

II.  To  make  Mead . 

Take  the  white  of  twelve  eggs,  mix  them  well  in  twenty-four 
gallons  of  water,  to  this  put  forty  pounds  of  honey.  Boil  the 
whole  one  hour  ; then  put  in  a little  ginger,  and  a little  cloves, 
or  cinnamon,  or  mace,  or  pimento,  or  a very  small  quantity  of 
each,  as  may  be  convenient.  When  the  Mead  is  cool,  add  a 
spoosful  of  yeast,  and  pour  it  into  a cask,  which  should  be  full 
that  it  may  work  out  at  the  bung.  When  the  fermentation  is 
over,  close  the  cask,  and  put  it  into  a cellar,  or  vault,  where  no 
changes  in  the  temperature  of  the  atmosphere  will  affect  it. 
When  it  has  stood  six  or  eight  months  it  will  be  fit  for  use, 
and  may  be  bottled  off.  Some  prefer  to  omit  the  spices,  wjiieb 
may  be  done,  and  good  Mead  still  be  made. 

C c 21 


39$ 


secrets  IN  ARTS,  TRADES,  &c. 


IU'of %%£l°Vea,  meJh0d  'ffir^rving  the  fine  .flavor 
? an  of  preventing  its  growing  rancid . 

an  JtwoPounCes  of  sahV^  Te  ?Ucnce  °f  crude  sal  ammoniac, 
very  well  with  th»  fi,"e,y  Powdered  i mix  them 

your  butter  »nHi  n eiSa.t#  ^ lth  a httle  of  this  mixture,  work 
pack  it  in  v;ood’  n fiHbUtter^ilk  be  entirel>’  “traded.  Then 
to  such  a deerep  30  t ‘V*15’  saltl[]g  lt  with  the  same  mixed  salt, 
no  salter  The  m‘  °t  ^e?aJata^e»  when  eaten  with  bread,  and 

,ue„ce„n,IELX"%:qSfrth"fine  °f 

IV*  ^nother  excellent  composition  for  preserving 
Butter . 

sugar,  one  oimce°nRSalt’tnW°  0unces  ’ salt-petre,  one  ounce  ; 
completely  blended  eal,^em  UP  together,  so  that  they  may  be 
pounds  of  b>i‘tPi-  ’ -Jh-sq.uant.ty  Wld  be  sufficient  for  four 

buttefcloLd  , m / mUSt  be  WeU  mixed>  and  the 

more  effectuallvPnj-„°r  USj'  rJtSutter  prepared  in  this  manner,  is 
better,  tastes  1^  -1  fr°m  any  taint  of  rancidity  ; looks 

been  cured  with  ~ter>  ncher’and  more  marrowy,  than  ifithad 
for  three  veZ s J* >mmo"  sa,t  a!one-  It  will  also  keep  good 
salted.  It  should ' d. tannot  be  distinguished  from  that  recently 
red,  does  not  tasVt’  hG";evef ..b.e  remarked,  that  Butter  thus  cu- 
weeks.  * Ste  W e until  it  has  stood  a fortnight  or  three 

V.  On  salting  Beef 

flesh, ^nd^ste?!  k°U[  Beef’  USe  3 ,ollg  s’narP  knife  to  cut  the 
put  haK  L he,‘baf  kTMW  tQ  T l,he  bone‘  To  each  barrel 
Coarse  brown  f ^T1*001  Sait}  two  or  three  P°unds  of 
llskb-  weTf,„  8 aandJf°U1;  °Unces  of  ^it-petre.  Let  your 

This  is  DartiVni01)6^'  and  p!ck  ed’  and  Pack  your  meat  close, 
i ms  is  pai  ticujarly  recommended  for  beef  to  ship. 


VI.  Method  of  curing  Hams 


to  resemble  those  of  West- 


phalia. 

Rub  each  Ham  over  with  dry  salt,  and  let  it  stand  24  hours 

ir^redimtf  * I’h  b °°d  V 7 hen  Prepare  a pickle  of  the  following 
mgredicnts;  he  quant.ties  mentioned  being  sufficient  for  one 

ba”°f3  mid,d!e,S,z,e-  Take  one  Pound  of  brown  sucar,  a 
SerrP0Und  of  sa  '-neh-e,  half  a pint  of  bay  salt,  and'three 
pints  of  common  sr.j  - incorporate  these  ingredients  in  an  iro» 


29$ 


SECRETS  IN  ARTS,  TRADES,  &c. 

pan  over  the  fire,  stirring  them  continually  till  they  acquire  a 
moderate  degree  of  heat.  These  make  a pickle,  ancl  in  this 
your  hams  must  remain  for  three  weeks,  frequently  turning 
them  that  every  part  may  have  the  benefit  of  the  pickle;  in  this 
time  they  will  be  ready  to  smoak. 

VII.  Method  of  purifying  Tallow , to  make  Candles . 

Take  five  eights  of  Tallow,  and  three  eighths  of  mutton-su- 
et ; melt  them  in  a copper  cauldron,  with  half  a pound  of  hot 
water  to  each  pound  of  greese.  As  soon  as  they  are  melted, 
mix  eight  ounces  of  brandy,  one  of  salt  of  tartar,  one  of  cream 
of  tartar,  one  of  sal  ammoniac,  and  two  of  pure  dry  pot~ash. 
Throw  the  mixture  into  the  cauldron  ; and  make  the  ingredi- 
ents boil  a quarter  of  an  hour ; then  let  the  whole  cook  The 
next  day  the  tallow  will  be  found  upon  the  surface  of  the  wa- 
ter, in  a pure  cake.  Take  it  out,  and  expose  it  to  the  action  of 
the  air,  on  canvass  for  some  days.  It  will  become  white,  and 
almost  as  hard  as  wax.  The  dew  is  very  favorable  to  bleech- 
ing.  Make  your  wicks  of  fine,  even  cotton  ; give  them  a coat 
of  melted  wax;  then  cast  your  mould  candles.  They  will 
-have  much  the  appearance  of  wax  ; and  one  of  six  to  the  pound 
will  burn  fourteen  hours  and  never  run. 

VIII.  To  preserve  Parsnips  and  various  other  roots , 

Take  them  up  in  April,  wash  the  earth  from  them,  and  dry 
them,  either  in  an  oven  after  bread  has  been  taken  out,  or  in 
the  sun.  If  made  perfectly  dry,  they  will  keep  any  length  of 
time,  even  for  a voyage  round  the  world. 

To  prepare  them  for  cooking,  soak  them  in  warm  water,  for 
about  an  hour  ; they  become  tender,  and  sweet  to  the  taste  as 
if  fresh  drawn  from  the  ground. 

We  remark  further,  that  there  is  no  doubt  but  that  many 
kinds  of  roots,  and  fruit  might  be  preserved  by  drying,  and  be 
very  useful  either  in  families,  or  to  take  upon  long  sea  voyages. 

IX.  Chinese  manner  of  curing  Ginsing . 

They  gather  the  root  sound  and  good,  (not  when  the  plant 
is  in  flo  wer)  and  gently  wash  the  earth  from  it,  being  careful 
not  to  break  the  skin.  Then  in  a very  flat  iron  stew  pan,  roil 
some  water,  put  in  the  root,  and  let  it  lie  three  or  four  minutes, 
but  not  so  long  as  to  injure  or  break  off  the  skin,  when  on  cut- 
ting the  root,  the  inside  will  appear  of  a light  straw  colour. 
They  then  take  a clean  linen  cloth,  and  having  wiped  the  gin- 
seng clean  and  dry,  they  place  the  stew-pan  over  the  gentlest 


SO#  SECRETS  m ARTS,  TRADES,  U. 

fire,  and  lay  in  it  a row  of  ginseng.  Here  they  let  it  dry  gradti- 
ally,  turning  it  leisurly,  till  it  is  something  elastic,  but  not  too 
dry  ; afterwards  they  take  a damp  clean  cloth  in  which  they 
roll  up  the  longest  pieces  in  parallellines,  and  wrap  them  up 
very  tight,  binding  them  hard  round  with  thread  : after  being 
dried  a day  or  two  by  a very  slow  fire,  they  unpack  the  same, 
and  repeat  the  packages  of  the  inside  and  moist  part,  until  it  is 
all  like  the  outside,  and  the  whole  dry  enough  to  sound  like  a 
piece  of  wood,  when  dropped  upon  a table.  The  waviest  pie- 
ces, of  a straw,  or  light  brown  colour,  are  the  best. 

To  preserve  the  same . 

jfcThey  take  a box  well  lined  with  lead,  and  put  into  a larger 
©ne  with  quick  lime,  (to  prevent  vermin)  and  close  the  whole 
against  air  and  weather. 

X.  On  the  culture  and  curing  of  Ginseng.  Another 

*way . 

Ginseng  should  be  collected  in  the  driest  days  in  October, 
and  immediately  after  it  comes  out  of  the  ground,  should  be 
spread  on  boards  under  a shelter  where  the  wind  can  blow  free- 
ly, and  when  dry,  the  dust  can  be  brushed  off.  It  should  have 
no  connection  with  the  heat  of  the  sun  or  fire,  or  be  washed. 
When  one  barrel  is  put  up  so,  it  will  fetch  more  than  fifty  bar- 
rels cured  the  other  way. 

XI.  On  the  manufactory  of  Kelp. 

Kelp  is  made  of  the  different  sorts  of  sea  weeds  thrown  upon 
the  shore,  or  gathered  upon  the  rocks,  which  must  be  dried  a 
little  in  the  sun,  and  afterwards  burnt  in  a kiln  made  of  stones 
found  upon  the  shore : this  kiln  is  made  in  a cylindrical  form, 
about  two  feet  in  diameter.  In  this  is  burnt  a small  parcel  of 
the  weed,  and  before  it  is  reduced  to  ashes,  more  is  thrown  on 
till  the  kiln  is  full,  or  the  materials  are  expended.  This  redu- 
ces the  ashes  to  a hard  and  solid  cake,  by  the  heat  of  the  kiln, 
and  quantity  of  salt  in  the  herb.  Thus  the  Kelp  is  reduced  to 
a kind  of  pot-ash,  which  is  used  for  making  alum,  common 
glass  bottles,  and  hard  soap. 

m 

XII.  On  making  Barilla. 

Barilla  is  made  from  a weed  commonly  called  sweet  fern, 
which  when  it  has  attained  its  growth,  is  cut  down,  and  leg 
dry,  afterwards  it  is  burnt,  and  calcined  in  pits,  like  lime  kilns, 


SECRETS  IN  ARTS,  TRADES,  Sec. 


SOI 


dug  in  the  ground  for  that  purpose,  which  are  closely  covered 
up  with  earth,  so  that  no  air  may  come  at  the  fire.  The  mat- 
ter by  this  means,  is  not  reduced  into  ashes  only,  but  is  made 
into  a very  hard  stone,  like  rock  salt,  which  is  forced  to  be  bro- 
ken with  hammers  to  get  it  out.  Barilla  is  used  in  soap  and 
glass  manufactories,  See. 

In  addition  to  the  above,  it  may  not  be  amiss  to  observe, 
that  there  are  many  plants  and  weeds  that  grow  in  great  abun- 
dance in  the  United  States,  and  which  could,  no  doubt,  be  con- 
verted into  ashes,  See . and  very  useful  in  many  manufactories. 

XIII.  Method  of  making  Pearl-Ashes  as  practised  in 
Hungary  and  Poland . 

Most  of  the  manufactories  of  calcined,  or  pearl-ashes  in  Hun- 
gary are  carried  cn  in  the  woods.  The  buildings  they  use,  are 
wooden  sheds  slightly  put  up,  so  as  to  be  taken  to  pieces  and 
carried  from  one  forest  to  another. 

They  find  the  oak  tree,  which  bears  acorns,  to  be  the  best 
wood,  and  always  prefer  the  oldest.  Twelve  and  a half  bush- 
els of  ashes  makes  one  hundred  weight  of  calcined,  or  pearl- 
ashes.  There  is,  however,  a great  difference  in  the  nature  of 
the  wood  ; that  cut  in  the  forests  of  Canissa  and  Tjagadorn 
yields  double  the  quantity  of  lixivial  salt  which  the  wood  does 
in  the  forests  near  Eperies  under  the  Carpathian  mountains. 
This  ought  to  make  people  cautious  in  their  choice  of  proper 
wood  ; too  much  attention  cannot  be  had  to  this  point,  al- 
though to  some  its  importance  may  not  appear  at  first  view. 

When  the  wood  is  felled  and  cut  into  billets,  it  is  burnt  on  a 
large  hearth  in  a kind  of  kiln  ; they  commonly  place  them  at 
the  side  of  a hill,  and  throw  the  wood  down  the  chimney  into 
the  fire.  They  keep  the  ashes  several  months  in  a dry  place, 
as  the  salts  are  discharged  more  readily  after  the  ashes  have 
been  preserved  some  time,  than  from  new  ashes;  they  also  sift 
the  ashes  to  get  the  charcoal  out,  for  when  the  charcoal,  left  in 
the  ashes  comes  into  the  lye  vats,  it  soaks  in  a good  deal  of  the 
lye,  which  is  a great  loss. 

Of  lixz-va  ting  the  ashes . 

To  • lixivate,  or  draw  the  salts  out  of  the  ashes  by  filter- 
ing them,  they  use  casks  about  the  size  of  a hogshead  ; they 
are  about  two  feet  fen  inches  high,  and  have  a double  bot- 
tom, the  uppermost  is  placed  nine  or  ten  inches  above  the 
under  one,  and  is  bored  with  several  holes  to  let  the  iye 
through;  the  undermost  has  a hole  to  let  the  lye  drop  gen- 
tly into  a trough  or  receiver  ; the  space  between  the  two, is  fil- 
led with  straw.  Twelve  or  fourteen  such  casks  being  ran  ged 


302 


SECRETS  IN  ARTS,  TRADES,  &c. 


in  a row,  upon  a trough,  are  filled  with  ashes,  and  by  means 
of  a gutter  laid  upon  the  casks,  with  a hole  corresponding  to 
each  cask,  water  is  conveyed  into  them  from  a pump  ; this  wa- 
ter passing  through  the  ashes,  carries  their  salts  along  with  it, 
and  so  long  as  it  is  coloured,  they  continue  to  let  it  run  through, 
after  which  they  shift  the  ashes,  and  the  last  of  the  lye  thus 
procured,  not  being  strong  enough,  is  poured  upon  a second 
or  third  cask,  till  it  is  so  strong  that  an  egg  will  swim  in  it. 
The  casks  used  for  this  purpose  are  made  of  oak  ; pine  is  im- 
proper ; it  impregnates  the  lye  with  a resinous  matter,  which 
is  found  to  give  a bad  colour  to  the  pearl-ashes.  Though  we 
have  mentioned  oak  casks,  as  preferable  to  pine,  yet  oak  is  sub- 
ject to  an  inconvenience  ; the  staves  warp  by  means  of  the  lye, 
and  the  casks  soon  leak.  White  cedar  vessels  are  best,  this  wood 
being  equally  free  from  the  inconveniences  of  both  the  former. 
Where  this  wood  is  not  readily  procured,  cypress  or  white 
pine  might  answer  in  its  place.  The  lye  when  drawn  off,  is 
kept  to  settle  and  depurate  in  receivers  or  cisterns ; they  are 
earefull  in  this  part  of  the  process,  to  havt  the  lye  as  clear  as 
possible,  for  on  this  point  depends  the  fine  colour  of  the  pearl- 
ashes.  Indeed,  too  much  attention  cannot  be  paid  to  having 
the  lye  clear,  and  should  it  still  remain  impure,  after  standing 
to  settle,  the  defect  may  be  remedied  in  this  manner: — When 
the  lye  first  boils  in  the  kettle  hereafter  described,  the  dregs 
will  settle,  and  may  be  lifted  from  the  bottoms  of  the  kettles 
with  a ladle. 

Of  evaporating  the  lye. 

When  the  lye  is  thus  procured,  they  proceed  to  evaporate 
the  watery  particles  by  ebullition,  or  boiling  ; this  they  call 
making  black  pot-ash.  For  this  purpose  they  use  iron  pans, 
much  like  those  used  in  making  salt : they  are  about  four  feet 
diameter  at  the  top,  and  near  three  feet  at  the  bottom.  Between 
every  pair  of  these  pans,  they  have  a brass  boiler,  considerably 
less  than  the  pans.  They  are  fixed  in  masonry  like  a sugar  ba- 
ker’s row  of  pans,  with  a fire  place  below  them,  and  an  open 
chimney  to  carry  off  the  steam.  They  use,  according  to  the 
largeness  of  the  work,  three,  six,  nine,  or  twelve  pans  and  boil- 
ers. Suppose  they  work  only  two  iron  pans,  and  the  boiler, 
they  begin  by  filling  one  pan,  and  the  boiler  with  lye,  and  then 
making  a fire  : in  proportion  as  the  lye  evaporates  and  diminish- 
es in  the  iron  pan,  it  is  supplied  with  boiling  lye  from  the  boil- 
er, which  is  again  supplied  with  cold  lye. 

When  the  first  pan  has  boiled  ten  or  eleven  hours,  they  begin 
the  second,  and  supply  it  continually  from  the  boiler,  as  the 
first  was  supplied,  and  when  the  salts  begin  to  thicken  in  the 
first  pan,  no  more  lye  is  added,  but  the  fire  is  continued,  and 


SECRETS  IN  ARTS,  TRADES,  Sec. 


SO®  * 


ike  mass  becomes  thick  and  hard,  this  is  what  is  called  black 
pot-ash  ; it  is  cut  into  pieces,  taken  out,  and  fresh  iye  put  into 
the  pan,  and  the  operation  continued.  When  the  first  pan  is 
half  evaporated,  the  second  is  begun,  by  which  means  they  ne- 
ver discontinue  the  work,  till  they  have  finished  the  lye. 

Of  calcining  the  black  pot- ash. 

The  process  of  calcining  the  black  pot-ash,  rendering  it  of  a 
fine  whitish  blue  colour,  and  able  to  stand  the  weather,  with- 
out running  into  a liquid,  is  performed  in  an  oblong  furnace, 
in  the  midst  of  which,  there  is  a hearth,  with  a border  of  bricks 
somewhat  raised,  to  prevent  the  pot-ash  from  falling  into  the 
fire  during  the  calcination.  There  is  a door  to  the  hearth, 
through  which  the  pot-ash  is  put  into  the  furnace,  and  a door 
on  each  side  to  put  wood  and  fire  into  the  fire  places.  The 
furnace  is  arched  over  with  a double  arch  ; three  holes  are  con- 
trived in  the  centre  of  it,  to  carry  off  the  smoak  and  vapors  in- 
to the  chimney,  which  is  placed  at  the  front  of  the  furnace. 

When  a sufficient  quantity  of  black  pot-ash  is  ready,  they 
begin  to  calcine,  and  make  it  a rule  never  to  leave  off,  or  let  the 
furnace  cool,  till  they  have  finished  the  whole.  The  black 
pot-ash  is  broken  into  lumps,  about  the  bigness  of  a man’s  fist, 
and  spread  upon  the  hearth  five  or  six  inches  thick,  the  iron 
door  is  then  shut,  and  a gentle  fire  is  made,  taking  care  to  pre- 
vent the  pot-ash  from  running  or  melting,  which  too  violent  a 
heat  would  occasion.  When  the  pot-ash  grows  red  hot,  it 
must  be  stirred  with  an  iron  rake  to  make  it  calcine  equally  ; 
when  it  whitens,  the  flames  become  bright,  and  the  fire  is  in- 
creased to  the  greatest  degree,  but  so  as  by  no  means  to  melt 
the  black  pot-ash.  When  they  want  to  know  if  the  calcina- 
tion has  succeeded,  they  take  a few  lumps  out,  and  if,  in  break- 
ing them,  they  find  them  white  in  the  middie,  it  is  a sign  they 
are  enough  done.  The  iron  hearth  door  is  always  kept  shut, 
except  when  they  are  stirring  the  black  pot  ash  ; but  in  order 
to  observe  the  progress  of  the  calcination,  they  have  a small 
hole,  or  door,  in  the  iron  hearth  door,  through  which  they  look 
into  the  furnace.  When  the  calcination  is  finished,  the  pearl- 
ashes  are  raked  out  upon  a pavement  before  the  furnace,  and 
packed  into  casks  of  fifteen  or  sixteen  hundred  weight.  When 
the  furnace  has  cooled  a little,  more  black  pot-ash  is  put  in  to 
calcine  ; and  by  the  workmen  relieving  one  another,  they  con- 
tinue calcining  till  all  the  black  pot-ash  is  done.  Four  men 
and  a boy  will  make  forty-two  tons  of  pearl-ash  in  a twelve 
month,  if  the  work  is  rightly  understood,  and  properly  car- 
ried on. 

Pearl-ashes  thus  prepared  by  calcination,  are  more  valued; 
consequently  bear  a higher  price,  than  a common  vegetable 


304 


SECRETS  IN  ARTS.  TRADES,  &c. 


salt  melted  in  the  pan.  The  pearl-ashes  can  be  put  to  every 
purpose,  on  account  of  the  colour ; whereas,  that  melted,  can- 
not for  the  same  reason.  Calcined,  or  pearl-ashes  stand  the 
weather  better,  and  do  not  so  readily  run  to  a liquid,  as  the 
melted.  The  same  quantity  of  lye  will  make  a ton  of  calcined, 
or  pearl-ashes,  as  goes  to  make  a ton  of  melted  pot-ash  of  the 
same  strength.  But  the  former  will  be  more  valuable,  and  fetch 
a better  price  at  market. 

In  addition  to  the  foregoing  essay  on  the  manufacture  of 
pearl-ashes,  the  following  remarks  upon  the  method  practised 
in  the  United  States  are  not  thought  improper. 

When  the  lye  is  prepared,  and  made  clear  by  standing  as  be- 
fore directed,  the  watery  parts  are  to  be  evaporated  by  boiling. 

For  this  end,  two  or  more  pans  are  fixed  in  mason  work,  side 
by  side,  with  a fire-place  under  the  whole,  and  an^open  chim- 
ney to  carry  off  the  steam.  These  pans  are  usually  about  four 
feet  diameter,  their  depth  about  half  the  breadth,  rounding  re- 
gularly from  the  margin  to  the  bottom,  so  as  to  form  the  half 
of  a hollow  globe,  or  a figure  nearly  similar.  The  pans  are  to 
be  filled  with  lye  and  a strong  fire  kept  under  them.  As  the 
watery  part  evaporates,  the  salt  forms  upon  the  bottom  and 
sides  of  the  pans,  from  whence  they  are  taken  by  a ladle,  and 
put  into  a small  pan  (fixed  also  in  mason-work)  with  a fire  un- 
der it,  to  evaporate  the  remaining  watry  particles. 

As  the  lye  diminishes,  and  the  salts  form  and  are  lifted  from 
the  large  pans,  fresh  lye  must  be  added,  and  this  operation  con- 
tinued, as  long  as  a supply  of  lye  can  be  had,  without  suffering 
the  kettles  to  cool.  T wo,  four,  or  six  kettles  may  be  make  use 
©f  according  to  the  extent  of  the  design. 


SECRETS  IN  ARTS,  TRADES,  &e.  39 


CHAP.  XX. 

Medical  Receipts,  &c. 

I.  The  most  easy  arid  certain  method  of  preserving 
men , and  animats  who  have  been  bitten  by  mad  crea- 
tures, from  being  seized  with  the  disorder  usually 
called  the  canine  madness , or  hydrophobia. 

This  remedy  is  made  known  by  professer  de  Meder  of  Fri- 
burgh,  and  is  prepared  as  follows : 

Dilute  thirty  grains  of  the  surgeous  caustic  stone  (called  the 
Lapis  infernalis,  by  drugistis)  in  one  pound  of  water.  If  the 
wound  be  small  and  deep,  dilute  it  according  to  art,  and  then 
cleanse  it  well  with  the  aforementioned  lye.  If  the  sensibility 
of  the  part  will  permit,  let  it  be  bound  up  with  pledgets  well 
soaked  in  the  lye,  laid  thereon  ; but  if  the  part  be  very  sensible 
let  it  be  well  washed  with  the  lye,  which  may  be  again  washed 
off  with  common  warm  water,  and  then  bound  up  with  dry- 
bandages. 

This  cleansing  by  means  of  the  lye,  may  be  often  repeated 
every  day,  provided  there  be  no  inflamation.  All  the  wounds 
that  have  been  treated  as  above,  are  to  be  healed  in  the  usual 
manner. 

II.  Recipe  for  the  cure  of  the  Scurvy , Leprosy , c tfc. 

This  medecine  is  an  agreeable  vegetable  syrup,  easily  made, 
pleasant  to  take,  mild  in  its  operation,  and  attended  with  the 
advantage  of  knowing  every  ingredient  of  which  it  is  compo- 
sed ; they  are,  of  male  speedwell,  four  ounces;  bark  of  elder, 
two  ounces ; winters  bark,  three  ounces ; angelica  root,  sliced 
thin,  eight  ounces  cumfrey  root,  and  fennel  root  sliced,  of 
each  four  ounces.  Boil  these  together  over  a slow  fire,  in  two 
gallons  of  salt  water,  till  one  half  is  consumed  ; then  strain  off 
the  decoction  into  a clean  earthen  pan,  and  let  it  stand  all  night 
to  settle ; in  the  morning,  carefully  pour  off  the  liquor  from 
the  sediment,  and  in  this  liquor,  dissolve  three  pounds  of  tre- 
ble refined  sugar,  and  two  pounds  of  virgin  honey,  which  are 
to  be  gently  simmered  into  a thin  syrup. 

The  dose  is  a large  tea-cup  full,  night  and  morning,  or  in 
some  cases,  morning,  noon,  and  night,  adding  to  each  dose,  at 

D d 


306  SECRETS  IN  ARTS,  TRADES,  &c. 

the  time  of  talcing  it,  a small  tea-spoon  full  of  Dr.  Huxam's 
essence  of  antimony,  which  greatly  improves  the  medecine. 

III.  The  negro  Casar’s  cure  for  poison, for  discover  - 
ing  which  the  assembly  of  South  Carolina  fur  chased 
his  freedom,  and  gave  him  an  annuity  of  one  hundred 
pounds. 

Take  the  roots  of  plantane,  and  wild  hoarhound,  fresh  or 
dried,  three  ounces,  boil  them  together  in  two  quarts  of  water 
to  one  quart,  and  strain  it ; of  this  decoction  let  the  patient 
take  one  third  part  three  mornings  fasting,  successively,  from 
which,  if  he  finds  any  relief,  it  must  be  continued  until  he  is 
perfectly  recovered  ; on  the  contrary,  if  he  finds  no  alteration 
after  the  third  dose,  it  is  a sign  that  he  is  not  poisoned,  or  that 
it  has  been  with  such  poison  that  Caeasar’s  antidote  will  not 
remedy  it,  so  he  may  leave  off  the  decoction. 

During  the  cure,  the  patient  must  live  on  spare  diet,  and 
abstain  from  eating  mutton,  pork,  butter,  or  any  other  fat  or 
oily  food. 

N B.  The  plantane  or  hoarhound  will  either  of  them  cure 
alone,  but  they  are  most  efficacious  together. 

In  summer  you  may  take  one  handful  of  the  root  and  bran- 
ches of  each,  instead  of  three  ounces  of  the  roots  of  each. 

For  drink  during  the  cure,  let  them  take  the  following : 
Take  of  the  roots  of  golden  rod,  six  ounces,  or  in  summer, 
two  large  handsful  of  the  roots  and  branches,  and  boil  them  in 
two  quarts  of  wafer  to  one  quart,  to  which  also  may  be  added, 
a litttle  hoarhound  and  sasafras  ; to  this  decoction,  after  it  is 
strained,  add  a glass  of  rum  or  brandy,  and  sweeten  it  with  su- 
gar for  ordinary  drink. 

Sometimes  an  inward  fever  attends  such  as  are  poisoned,  for 
which  he  ordered  the  following : 

Take  one  pint  of  wood  ashes  and  three  pints  of  water,  stir 
and  mix  them  well  together,  let  them  stand  ail  night  and  strain 
or  decant  the  lye  off  in  the  morning,  of  which  ten  ounces  may 
betaken  six  mornings  following,  warmed  or  cold  according  to 
the  weather. 

The  symptoms  attending  such  as  are  poisoned,  are  as  follows: 
A pain  of  the  breast,  difficulty  of  breathing,  a load  at  the  pit 
of  the  stomach,  an  irregular  pulse,  burning  and  violent  pains  of 
the  viscera  above  and  below  the  naval,  very  restless  at  night, 
sometimes  wandering  pains  over  the  whole  body,  a reaching 
inclination  to  vomit,  profuse  sweats,  (which  prove  always  ser- 
viceable) slimy  stools,  both  when  costive  and  loose,  the  face  of 
a pale  and  yellow  colour,  sometimes  a pain  and  infiamation  of 
the  throat,  the  appetite  is  generally  weak,  and  some  cannot 


SECRETS  IN  ARTS,  TRADES,  &c. 


3Q7 

eat  any ; those  who  have  been  long  poisoned,  are  generally 
very  feeble,  and  weak  in  their  limbs,  sometimes  spit  a great  deal, 
the  whole  skin  peals,  and  likewise  the  hair  falls  off. 

IV.  Caesar’s  cure  for  the  bite  of  a Rattle-snake . 

Take  of  the  roots  of  plantane  or  hoarhound,  (in  summer,  roots 
and  branches  together),  bruise  them  in  a morter,  and  squeeze 
out  the  juice,  of  which,  give  as  soon  as  possible  one  large 
spoonfull  ; if  the  patient  is  swelled,  you  must  force  it  down  his 
throat,  this  will  generally  cure  ; but  if  he  finds  no  relief  in  an 
hour,  you  may  give  another  spoonfull,  which  never  hath  failed. 

If  the  roots  are  dried,  they  must  be  moistened  with  a little 
water. 

To  the  wound  may  be  applied  a leaf  of  good  tobacco,  mois- 
tened with  a little  rum. 

V.  On  the  cultivation  of  the  P ofijiy -plant 5 and  the  me- 
thod of  fir  o curing  opium. 

Opium  is  the  produce  of  the  papaver  somniferum  of  Linnaeus, 
which  as  a genus,  comprehends  two  species,  viz. 

1.  The  double,  2.  the  single  ; each  of  which  includes  several 
varieties,  as  to  the  colour  of  the  flowers,  some  being  white, 
sotne  red,  others  purple  and  varigated. 

The  poppy  seeds,  in  this  country  should  be  sown  or  planted 
about  the  middle  of  May,  in  rich  moist  ground. 

The  ground  should  be  formed  into  plats  of  about  four  feet 
broad.  The  seeds  should  be  planted  in  rows  about  ten  or  twelve 
inches  apart  each  way.  Shallow  holes,  of  an  inch  in  depth, 
should  be  made  in  the  rows,  at  the  distance  above  mentioned  ; 
the  seeds  put  in  and  covered  over  evenly  ; after  which  they  are 
to  remain  till  the  plants  are  grown  about  four  inches  high, 
when  they  may  be  frequently  watered  and  manured,  espe- 
cially, if  the  land  is  dry,  and  not  fertile  ; the  best  manure  is  said 
to  be  a compost  of  dung,  ashes,  and  nitrous  earth. 

The  ground  should  be  kept  clear  from  weeds,  which  may 
be  done  with  very  little  trouble,  with  a small  hoe,  especially  if 
the  poppies  are  planted  in  rows,  as  before  directed. 

This  is  all  that  is  necessary  to  be  said  on  the  cultivation  of 
the  plant,  I shall  now  describe  the  method  of  obtaining  its 
juice,  which  when  inspissated  to  a pilular  consistance,  is  called 
opium. 

The  states  of  the  plants,  wherein  they  are  found  to  yield  the 
most  juice,  are  just  before,  in  the  time  of,  and  immediately  af- 
ter dowering.  The  method  of  procuring  the  juice  is  this; 
in  a sunny  day  cut  off  the  stalks  about  an  inch  below  their 


308 


SECRETS  IN  ARTS,  TRADES,  &c. 


flowers,  and  as  soon  as  the  juice  appears,  (which  it  does  at* 
first,  equally  well,  on  the  part  of  the  stalk  cut  off,  as  on  the 
part  left  standing)  collect  it  with  a small  scoop  or  pen-knife, 
which  last  answers  the  purpose  very  well.  After  the  juice 
ceases  to  appear  on  the  top  of  the  standing  stalk,  it  should  be 
cut  off  about  an  inch  lower,  and  it  will  yield  almost  as  freely 
as  before ; and  this  cutting  off  is  repeated,  as  long  as  any  juice 
appears. 

The  juice  when  collected,  should  be  put  into  an  evaporating 
pan,  placed  in  the  sun’s  heat,  and  frequently  stirred,  till  it  be- 
comes of  a consistance  to  be  formed  into  pills,  or  made  into 
rolls  for  keeping,  or  transportation. 

VI.  Receipt  for  the  Whooping  Cough. 

Take  of  dried  colts-foot  leaves,  (that  has  not  been  gathered 
more  than  a year),  a good  handful!,  cut  them  small,  and  boil 
them  in  a pint  of  spring  water,  till  half  a pint  is  boiled  away  ; 
then  take  it  off  the  lire,  and  when  it  is  almost  cold,  strain  it 
through  a cloth,  squeezing  the  herb  as  dry  as  you  can,  and 
then  throw  it  away.  Dissolve  in  the  liquor,  an  ounce  of  brown 
sugur-candy,  finely  powdered,  and  to  a child  three  or  four 
years  old,  give  one  spoonful  of  it,  cold  or  warm,  as  the  season 
proves,  three  or  four  times  a day  or  oftener,  if  the  fits  of  cough- 
ing come  frequently,  till  well.  For  older,  or  younger  persons, 
the  quantity  may  be  increased,  or  decreased  as  may  be  thought 
proper. 

This  preparation  is  useful  also  in  asthma’s  phthysic,  short- 
ness of  breath,  consumption’s,  See. 

N.  B.  When  sugar-candy  cannot  conveniently  be  had,  per- 
haps honey  or  good  clean  brown  sugar  would  answer  ; sugari- 
candy  is,  however,  to  be  preferred. 

VII.  Receipt  for  curing  weak  and  weeping  Eyes . 

Make  a strong  decoction  of  cammomile  boiled  in  sweet  cow’s 
milk;  with  this  let  the  patient  eyes  be  bathed  several  times  a 
day,  as  warm  as  can  be  suffered  without  uneasiness.  Persons 
almost  blind,  have  been  cured  by  persevering  in  the  use  of 
this  prescription.  It  is  proper,  however,  to  observe  that  fre- 
quently five  or  six  weeks  bathing  of  the  eyes  is  necessary. 

VIII.  A recipt  for  a Cold . 

Take  a large  spoonful  of  linseed,  four  penny  worth  of  stick 
licorice,  and  half  a pound  of  sun  raisons.  Put  them  into  a gal- 
lon of  soft  water,  and  let  it  simmer  over  a slow  fire,  till  it  be 


SECRETS  IN  ARTS,  TRADES,  Sic, 


309 


reduced  one  half ; then  add  to  it  half  a pound  of  brown  sugar- 
candy,  fine  powdered.  Drink  half  a pint  of  this  at  going  to 
bed,  adding  thereto,  a little  white  wine  vinegar,  or  lemmon 
juice  : this  should  be  added  to  each  quantity  as  you  take  it  ; 
not  to  the  whole.  A little  of  this  may  be  taken,  whenever  the 
cough  is  troublesome.  It  is  u seful,  even  in  the  first  stages  of  a 
consumption. 


CHAP.  XXL 


Secrets  Entertaining  and  Useful. 

1.  To  whiten  Wax. 

Melt  it  in  a pipkin  without  boiling.  Then  take  a wooden 
pestle,  which  steep  in  the  wax  two  fingers  deep,  and  plunge 
immediately  into  cold  water  to  loosen  the  wax  from  it,  which 
will  come  off  like  sheets  of  paper.  When  you  have  got  all 
your  wax  out  of  the  pipkin  and  made  into  flakes,  put  it  on  a 
dean  towel,  and  expose  it  in  the  air  on  the  grass  till  it  is  white. 
Then  melt  it  and  strain  it  through  a muslin  to  take  all  the  dirt 
out  of  it,  if  there  be  any. 

II.  Another  method  of  whitening  Wax  in  large  mdnu* 
factories . 

1.  Melt  your  wax  in  a large  copper,  such  as  brewing  or 
washing  coppers  fixed  in  mortar ; have  a kind  of  trough,  made 
of  oak  or  deal,  and  six  or  seven  feet  long,  at  the  farther  end  of 
which  a cock  of  cold  water  will  be  placed  in  the  wall  to  fill  it, 
and  at  the  other,  towards  the  copper,  a tub  laid  upon  it,  to 
receive  the  wax  from  the  copper.  Let  that  tub  have  also  a 
cock  at  four  fingers  breadth  from  the  bottom,  and  in  that  tub 
pour  the  melted  hot  wax  from  the  copper.  Cover  it  with  a 
blanket  in  four  doublets  to  make  it  retain  its  heat,  and  let  it 
rest  thus  a couple  of  hours,  to  give  time  to  the  dirt  and  nasti- 
ness, which  may  happen  to  be  in  it,  to  settle  at  the  bottom  of 
the  tub.  When  that  is  done,  fill  your  trough  with  col  1 water; 
* then  have  a kind  of  tin  basket  to  fit  the  width  of  the  trough  so 
as  to  sit  upon  its  edges,  and  bored  at  bottom  with  twelve  or 
sixteen  small  holes,  at  equal  distances,  so  as  to  receive  the  mel- 
ted wax  from  the  cock  of  the  tub,  and  render  it  in  the  trough 

' I)  cl  2 


'310  SECRETS  IN  ARTS,  TRADES,  &c. 

through  the  said  small  holes  of  its  bottom,  while  with  a po- 
lished, wooden  stick  or  roller,  under  the  tub,  and  armed 
at  both  ends  with  iron  in  the  form  of  a spit,  and  half  of  the 
thicknels  of  which  enters  into  the  water,  while  the  other  keeps 
above  it,  you  keep  continually  turning  equally  and  regularly. 
This  process  will  make  the  wax  flake  in  the  water  into  small 
ribbons  as  thin  as  silver  paper.  Now  in  fine  clean  hampers, 
or  hand-baskets,  made  of  white  peeled  willow  twigs,  take  your 
wax  from  the  trough  with  a wooden  shovel,  and  carry  it  to  an 
open  field,  where  lay  it  thick  upon  a coarse  cloth  in  the  sun, 
and  turn  it  every  other  day  for  two  weeks  running,  after  which 
time  it  will  be  of  a very  perfect  whiteness. 

2.  Now  clean  well  your  copper,  and  put  in  alum- water  to 
warm,  in  which  throw  your  whitened  wax,  and  stir  well. 
When  melted,  renew  the  operation  as  before,  and  carry  it  a- 
gain  in  the  open  field  to  expose  it  in  the  sun.  In  a week's 
time  it  will  have  its  whiteness  in  the  highest  degree  it  can  be 
carried  to. 

3.  Melt  then  for  the  last  time,  and  put  in  small  round  cakes, 
which  is  done  by  casting  it  in  small  moulds  carved  purposely 
on  several  boards. 

III.  To  make  mutton  suet  candles , in  imitation  of  wax 
candles . 

1.  Throw  quicklime  in  melted  mutton  suet;  the  lime  will 
fall  to  the  bottom,  and  carry  along  with  it  all  the  nastiness  of 
the  suet,  so  as  to  leave  it  as  pure  and  fine  as  wax  itself. 

2.  Now  if  with  one  part  of  that  suet,  you  mix  three  of  real 
wax,  you  will  never  be  able  to  find  out  the  mixture,  not  even 
in  the  moulding  and  casting  wax  for  figures  or  ornaments. 

IV.  To  make  soafi . 

The  white,  or  as  it  is  called,  the  Genoa  soap,  is  made  with 
wood  ashes,  Alicant  kali,  lime  and  olive  oil.  The  black  is  made 
of  the  same  materials,  with  this  exception,  that  it  is  made  with 
the  fasces  and  tartar  of  the  oils.  The  marble -is  made  with 
Alicant  kali,  bourde,  and  lime ; and  when  it  is  almost  done, 
they  take  some  red  earth,  which  they  call  cinnabar,  with  cop- 
peras ; they  boil  these  together  and  throw  it  in  the  copper 
where  the  soap  is.  It  occasions  a blue  marbling,  as  long  as  the 
copperas  keeps  the  better  of  the  two  ingredients;  but  as  soon 
as  the  cinnabar  has  at  last  absorded  the  vitriol,  this  blue  hue 
subsides  entirely,  and  the  red  alone  prodominates.  Therefore, 
to  form  the  soap,  make  different  lyes  with  all  these  sorts  of  mat- 
ters, and  when  they  are  sufficiently  charged  (which  begimi§i$ 


SECRETS  IN  ARTS,  TRADES,  &c*  3H 

know  by  their  carrying  an  egg  swimming,  without  its  sinking 
to  the  bottom,  and  experienced  soap-boilers  are  judges  of  by 
dejustation,  and  the  time  they  have  been  at  work)  they  put  all 
these  lyes  in  proper  coppers,  and  pour  at  the  same  time  in  Pro- 
vence  and  Languedoc,  oil  of  olive  ; in  Germany,  grease ; and 
in  England,  oil  of  fish.  Then  boil  all  together  with  a great 
blasting  fire  ; and  eighteen  or  twenty  days  afterwards  these  oils 
have  so  well  aspired  ail  the  salts  of  the  lye,  that  this  is  left  quite 
flat  and  untasty.  Then  by  the  cocks  which  are  at  the  bottom 
of  the  coppers,  the  water  or  lye  is  let  out  and  the  lump  of  soap 
taken  out  and  placed  to  dry  in  houses  built  on  purpose  to  make 
it  take  a sufficient  consistence. 

V.  To  prevent  any  thing  burning  in  the  Jire . 

Pound  into  powder  cherry-tree  gum  and  alum  in  equal 
quantities,  and  imbibe  that  powder  with  strong  wine-vinegar* 
which  leave  thus  a digesting  on  warm  ashes,  for  the  space  of 
twenty  four  hours.  If  with  this  composition  you  rub  any 
thing  and  throw  it  in  the  fire,  it  will  not  be  consumed  by  it. 

VI.  To  prevent  burning  one’s  fingers  in  melted  lead . 

Take  two  ounces  of  bol  armenian,  one  of  quicksilver,  half  a 
©ne  of  camphire,  and  two  of  brandy.  Mix  all  together  with  a 
pestle  in  a brass  mortar,  and  rub  your  hands  with  this  composi- 
tion, before  steeping  them  into  a pot  of  melted  lead,  and  this 
will  have  no  effect  upon  them. 

VII.  A Jire  which  cannot  be  extinguished  by  water , 

Take  five  ounces  of  gun-powder ; saltpetre,  three;  brim?- 
stone,  two,  camphire,  rosin,  and  turpentine  one  of  each.  Mix 
all  together,  and  imbibe  it  with  rectified  oil  of  rosiny  fir-tree. 
If  you  fill  balls  with  this  composition  and  throw  them  thirty 
feet  deep  in  the  water,  they  will  burn  still,  even  if  you  coves 
them  entirely  with  mould. 

VIII.  To  prevent  the  oil  of  a lamp  from  smoaking. 

Distil  some  onions,  and  put  of  the  distilled  liquor  at  the  bot- 
tom of  the  lamp,  and  the  oil  over  it,  then  you  will  see  the  oil 
give  no  offensive  smoke. 

IX.  To  make  an  incombustible  wick. 

Take  a long  piece  of  feathered  alum,  which  cut  of  what  s \tt 


312 


SECRETS  IN  ARTS,  TRADES,  &c. 


you  like,  and  bore  in  its  length  several  holes  with  a large  needle; 
then  put  this  wick  in  the  lamp  ; the  oil  will  ascend  through 
these  holes,  and  if  you  light  it,  you  will  see  the  effect  of  it. 

X.  A stone  which  is  inflammable  with  water . 

Take  quick-lime,  refined  salt  petre,  Alexandrian  tutty,  and 
caliminary  stone,  in  equal  quantities,  with  brimstone  and  cam- 
phire,  of  each  two  parts.  Rut  all  into  subtle  powder,  and  sift 
it  through  the  finest  sieve.  Then  put  all  into  a new  piece  of 
cloth,  and  tie  it  very  tight.  Put  this  knot  into  a crucible,  which 
cover  with  another  crucible,  and  lute  well  with  greasy  clay. 
Let  the  lute  and  all  be  set  in  the  sun,  or  over  a baker’s  oven  to 
dry.  Then  place  these  crucibles  in  a brick  kiln,  and  do  not 
take  them  out  before  the  bricks  are  baked.  Then  you  will 
find  a stone  which  the  least  drop  of  water  will  inflame,  so  as  to 
light  a match  if  you  put  it  to  it.  To  put  it  out,  only  blow 
upon  it. 

XI.  To  make  the  true  phosphorus,  extracted  from  urine , 

which  is  inflammable  by  the  air  yso  that  pieces  of  wood 

?nay  be  lighted  by  it. 

Put  a large  quantity  of  chamber-lye  in  bottles,  set  them  in 
the  sun  during  the  dog-days,  till  the  urine  become  entirely  foe- 
tid. As  the  urine  diminishes  by  the  evaporation  the  heat  oc- 
casions, let  them  be  filled  again  by  pouring  from  one  into  the 
other,  but  not  by  any  fresh  urine.  When  it  is  come  to  its  ut- 
most degree  of  corruption,  put  it  into  a glass  retort  on  a sand 
bath  ; and  having  luted  a bladder  for  receiver,  there  will  arise 
first  a spirit  and  next  a phlegm.  When  the  distillation  is  en- 
ded, and  nothing  more  arises,  let  the  retort  cool,  and  unlute  it 
to  fill  it  again  with  urine  of  the  same  degree  of  corruption  as 
the  iast.  Lute  and  distil  again  as  you  did  before,  first  the  spi- 
rit and  then  the  phlegm,  continuing  to  unlute,  fill  again  and 
distil  till  you  find  at  the  retort  a good  quantity  of  fasces.  Be 
xareful  at  every  distillation  not  to  force  the  distillation  beyond 
the  phlegm.  But  when  it  comes  for  the  las  ime,  re-adapt  the 
bladder,  and  give  the  gradual  rising  fire  till  the  oil  ascends,  in 
which  case,  keep  up  your  fire  to  that  degree,  and  when  you  see 
it  stops,  then  is  the  time  to  increase  your  fire,  to  force  out  any 
thing  which  can  be  forced  and  distilled  from  it.  hat  done, 
let  the  retort  cool,  and  break  it.  Therein  you  will  find  two 
sorts  of  matters  ; the  one  rare  and  spongy  which  occupies  the 
upper  part,  and  another  under,  very  nasty  and  iartareous.  Se- 
parate carefully,  and  dexterously,  with  a wooden  knife,  or  spa- 
tula, the  uppermost  matter  from  the  undermost.  Put  the  spon- 


SECRE  TS  IN  ARTS,  TRADES,  &c. 


*13 


gy  one  in  a new  retort,  and  give  a gradual  fire  on  the  sand  bath. 
The  first  which  arises  will  be  an  oil,  which  put  aside ; the  next 
will  be  a matter  not  unlike  melted  sulphur.  Then  take  the 
oil  which  first  ascended,  and  mix  it  with  that  of  the  prece- 
ding distillation,  which  pour  all  together  on  the  residue  of  the 
second  one,  and  set  it  on  a very  slow  fire,  to  exhaust  gently  all 
the  humidity  from  it.  Then  empty  this  humidity,  or  phlegm, 
out  of  the  receiver,  and  replace  it  with  clear  and  clean  water  % 
and  having  re-adapted  it  to  the  retort,  distil  all  your  greasy  and 
bituminous  oil  ; it  will  come  out  like  stars  and  spangles  of  fire, 
which  will  fall  into  the  receiver.  But  then  is  the  time  to  take 
care  and  not  be  too  hasty  by  pushing  the  fire  too  hard,  for  you 
would  cause  the  breaking  of  the  retort,  and  lose  at  once  all  the 
fruit  of  your  labour.  The  operation  being  well  conducted 
throughout,  you  will  find  your  matter  at  the  bottom  of  the 
receiver;  break  it  into  several  pieces,  put  it  in  a phial  with 
water,  and  cork  it  well.  Such  is  the  process  to  be  observed  in 
making  the  phosphorus  from  urine,  and  which  we  here  publish 
from  experience. 

XII.  Fruit . 

To  preserve  trees  from  being  injured  by  worms,  caterpillars? 
St c.  Clear  away  the  gum  that  issues  out  of  the  tree  affected 
by  the  worm  ; strew  a little  flour  of  brimstone  around  the  root, 
and  cover  it  with  fine  mould,  that  it  may  not  be  blown  away, 
yet  so  that  the  sun  may  operate  through  and  cause  the  brim- 
stone to  fumigate,  which  will  destroy  the  worm.  One  pound 
of  brimstone  is  sufficient  for  near  two  hundred  trees.  The 
same  kind  of  sulphur  is  destructive  to  caterpillars.  Split  the 
end  of  a pole  or  stick,  put  therein  a few  brimstone  matches, 
set  them  on  fire,  and  hold  the  pole  under  the  nest. 

XIII.  To  kill  all  sorts  of  worms  in  cattle . 

Take  saven,  chop  it  small,  and  beat  it  with  fresh  butter, 
make  it  in  small  balls,  and  give  it  to  the  beast  in  a proportion- 
able  quantity.  Sweet  wort  and  a little  black  soap  mixed  toge- 
ther as  a drink,  maketh  all  sorts  of  beasts  void  the  worms. 

XIV.  To  kill  maggots  in  sheep . 

Take  goose  grease,  tar  and  brimstone,  mix  them  together 
on  the  fire,  and  when  cold  anoint  the  troubled  places  therewith 


ON 


DISTILLING. 

( From  the  works  of  A.  Cooper,  Distiller . ) 

Distillation  is  the  art  of  separating,  or  draw- 
ing oil  the  spiritoUs,  aqueous,  and  oleaginous  parts  of  a 
mixt  body  from  the  grosser  and  more  terrestrial  parts, 
by  means  of  fire,  and  condensing  them  again  by  cold. 


CHAP.  L 


Of  the  Distillation  of  Spirits. 

By  the  distillation  of  spirits  is  to  be  understood  the  art  by 
which  all  inflammable  spirits,  brandies,  rums,  arraks,  and  the 
like,  are  procured  from  vegetable  substances,  by  the  means  of 
a previous  fermentation,  and  a subsequent  treatment  of  the 
fermented  liquor  by  the  alembic,  or  hot  still,  with  its  proper 
worm  and  refrigeratory. 

But  as  it  is  impossible  to  extract  vinous  spirits  from  any 
vegetable  subject  without  fermentation  ; and  previous  to  this. 
Brewing  is  often  necessary,  it  will  be  requisive  first  to  consider 
these  operations. 

Article  I. 

Of  Brewing,  in  order  to  the  Production  of  inflammable 
Spirits. 

By  Brewing,  we  mean  the  extracting  a tihctnre  from  some 
vegetable  substance,  or  dissolving  it  in  hot  water,  by  which 
means  it  becomes  proper  for  a vinous  fermentation. 

A solution,  or  fermentable  tincture  of  this  kind,  may  be  pro- 
cured, with  proper  management,  from  any  vegetable  substance, 
but  the  more  readily  and  totally  it  dissolves  in  the  fluid,  the 
better  it  is  fitted  for  fermentation,  and  the  larger  its  produce  of 
spirits.  All  inspissated  vegetable  juices,  therefore,  as  sugar, 


SECRETS  IN  ARTS,  TRADES,  &c. 


315 


loney,  treacle,  manna,  &c . are  very  proper  for  this  use,  as 
hey  totally  dissolve  in  water,  forming  a clear  and  uniform  so- 
ution:  but  malt,  for  its  cheapness,  is  generally  preferred  in 
England,  though  it  but  imperfectly  dissolves  in  hot  water. 
The  worst  sort  is  commonly  chosen  for  this  purpose  ; and  the 
tincture,  without  the  addition  of  hops,  or  trouble  of  boiling  it, 
is  directly  cooled  and  fermented. 

But  in  order  to  brew  with  malt  to  the  greatest  advantage, 
the  three  following  particulars  should  be  carefully  attended  to: 
First,  The  subject  should  be  well  prepared;  that  is, it  should 
be  justly  malted,  and  well  ground  : for  if  it  be  too  little  malt- 
ed,  it  will  prove  hard  and  flinty ; and  consequently,  only  a 
small  part  of  it  dissolve  in  the  water % and,  on  the  other  hand 
if  too  much  malted,  a great  part  of  the  finer  particles,  or  fer- 
mentable matter,  will  be  lost  in  the  operation.  With  regard 
to  grinding,  the  malt  should  be  reduced  to  a kind  of  coarse 
meal  ; for  experience  has  shewn,  that  by  this  means,  the  whole 
substance  of  the  malt  may,  through  the  whole  process,  conti- 
nue mixed  with  the  tincture,  and  be  distilled  with  it ; whereby 
a larger  quantity  of  spirit  will  be  obtained,  and  also  great  part 
of  the  trouble,  time,  and  expence,  in  brewing  saved.  This  se- 
cret depends  upon  thoroughly  mixing,  or  briskly  agitating  the 
meal,  first  in  cold  water,  and  then  in  hot ; and  repeating  this 
agitation  after  the  fermentation  is  finished ; when  the  thick 
turbid  wash  must  be  immediately  committed  to  the  still.  And 
thus  the  two  operations  of  Brewing  and  Fermenting  may  very 
com  mod iou sly  be  reduced  to  one,  to  the  no  small  profit  and  ad- 
vantage of  the  distiller. 

The  second  particular  to  be  attended  to,  is,  that  the  water 
be  good,  and  properly  applied.  Rain  water  is  the  best  adapt- 
ed to  Brewing ; for  it  not  only  extracts  the  tincture  of  the  malt 
better  than  any  other,  but  it  also  abounds  in  fermentable  parts, 
whereby  the  operation  is  quickened,  and  the  yield  of  the  spirit 
increased.  The  next  to  that  of  rain  is  the  water  of  rivers  and 
lakes,  particularly  such  as  wash  any  large  tract  of  a fertile 
country,  or  receive  the  sullage  of  populous  towns.  But  what- 
ever water  is  used,  it  must  stand  in  a hot  state  upon  the  prepa- 
red malt,  especially  if  a clear  tincture  be  desired  ; but  the  great- 
est care  must  be  taken  to  prevent  the  malt  from  running  into 
lumps  or  clods  ; and,  indeed,  the  best  way  to  prevent  this  is  to 
put  a small  quantity  of  cold  water  to  the  malt  first,  and  mix 
them  well  together,  after  which  the  remaining  quantity  of  wa- 
ter may  be  added  in  a state  of  boiling,  without  the  least  dan- 
ger of  coagulating  the  malt,  or,  what  the  distillers  call,  making 
a pudding. 

It  has  been  found  by  experience,  that  a certain  degree  of  heat 
is  necessary  to  extract  the  whole  virtue  of  the  malt ; this  de- 
gree may,  by  the  above  method,  be  determined  to  the  greatest 


SIS 


SECRETS  IN  ARTS,  TRABES,  &Cc 


exactness,  as  the  heat  of  boiling  water  may  at  once  be  lessened 
to  any  assigned  degree  of  warmth,  by  a proper  addition  of  cold 
water  ; due  regard  being  had  to  the  season  of  the  year,  and  the 
temperature  of  the  air.  This  improvement,  with  that  men- 
tioned above,  of  reducing  the  two  operations  of  Brewing  and 
Fermentation  to  one,  will  be  attended  with  considerable  ad- 
vantage. 

With  regard  to  the  proper  quantity  of  water,  it  must  be  ob- 
served, that  if  too  little  be  used,  a viscid  clammy  mixture  will 
be  produced,  little  disposed,  to  ferment,  nor  capable  of  extract- 
ting  all  the  soluble  parts  of  the  malt.  On  the  other  hand,  too 
much  water  renders  the  tincture  thin  and  aqueous,  and  by  that 
means  increases  the  trouble  and  expence  in  all  parts  of  the 
operation.  A due  medium,  therefore,  should  be  chosen  ; and 
experience  has  shewn,  that  a wash  about  the  goodness  of  that 
designed  by  the  London  brewers  for  ten  shilling  beer,  will  best 
answer  the  distiller's  purpose.  When  a proper  quantity  of 
water  is  mixed  with  the  malt,  the  whole  mass  must  be  well 
agitated  that  all  the  soluble  parts  of  the  malt  may  often  come 
in  contact  with  the  aqueous  fluid,  which  being  well  saturated 
after  standing  a proper  time,  must  be  drawn  off,  fresh  water 
poured  on,  and  the  agitations  repeated,  till  the  whole  virtue, 
or  saccharine  sweetness  of  the  malt  is  extracted,  and  only  a fix- 
ed husky  matter  remains,  incapable  of  being  dissolved  by  ei- 
ther hot  or  cold  water. 

The  third  requisite  particular  is,  that  some  certain  additions 
be  used,  or  alterations  made  according  to  the  season  of  the 
year,  or  the  intention  of  the  operator.  The  season  of  the 
year  is  very  necessary  to  be  considered.  In  the  summer,  the 
water  applied  to  the  malt  must  be  colder  than  in  the  winter  ; 
and,  in  hot  sultry  weather,  the  tincture  must  be  suddenly  cool- 
ed, otherwise  it  will  turn  eager  ; and,  in  order  to  check  the  too 
great  tendency  it  has  to  fermentation,  when  the  air  is  hot,  it 
will  be  necessary  to  add  a proper  quantity  of  unmalted  meal, 
which  being  much  less  disposed  to  fermentation  than  malt,  will 
greatly  moderate  its  impetuosity,  and  render  the  operation  suit- 
able to  the  production  of  spirits,  which  by  a too  violent  fer- 
mentation, would  in  a great  measure  be  dissipated,  and  lost. 

Article  II. 

Of  Fermentation. 

The  tincture,  or,  as  the  distillers  call  it,  the  wash  be'ng  pre- 
pared as  in  the  foregoing  article,  it  is  next  to  be  fermented; 
for  without  this  operation,  no  vinous  spirit  can  be  pro  duced. 

By  fermentation  is  meant  that  intestine  motion  performed 


SECRETS  IN  ARTS,  TRADES,  he. 


317 


by  the  instrumental  efficacy  of  water,  whereby  the  salt,  oil  and 
earth  of  a fermentable  subject,  are  separated,  attenuated,  trans- 
posed, and  again  collected,  and  recomposed  in  a particular 
manner. 

The  doctrine  of  fermentation,  is  of  the  greatest  use,  and 
should  be  well  understood  by  every  distiller,  as  it  is  the  very 
basis  of  the  art ; and,  perhaps,  if  more  attended  to,  a much 
purer  spirit,  as  well  as  a greater  quantity  of  it,  might  be  pro- 
cured from  the  same  materials  than  at  present.  We  shall 
therefore  lay  down  a concise  theory  of  fermentation,  before  we 
proceed  to  deliver  the  practice. 

Every  fermentable  subject  is  composed  of  salt,  oil,  and  a 
subtle  earth  ; but  these  particles  are  so  small,  that,  when  asun- 
der, they  are  imperceptible  to  the  senses ; and,  therefore,  when 
mixed  with  an  aqueous  fluid,  they  leave  it  transparent ; neither 
have  fermentable  bodies  any  taste,  except  that  of  sweetness. 

These  particles  are  each  composed  of  salt,  oil  and  earth,  in- 
timately mixed  in  an  actual  cohesion,  connexion,  and  union  ; 
and,  therefore,  when  any  one  of  those  principles  too  much 
abounds  in  any  subject,  so  that  an  intimate  union  is  prevented, 
the  whole  efficacy  of  the  fermentation  is  either  stopped  or  inn 
paired,  or  at  least  limited  to  one  certain  species. 

This  equal  connexion  of  salt,  oil,  and  earth,  into  a single 
compound  particle,  forms  a corpuscle  soluble  in  water;  or  to 
speak  more  philosophically,  this  compound  corpuscle  is,  by 
means  of  its  saline  particles,  connected  with  the  aqueous  cor- 
puscles, and  moved  up  and  down  with  them.  But  where  these 
corpuscles  are  not  thus  connected  with  the  water,  a number  of 
them  join  together,  and  form  either  a gross,  or  a loose,  ebafry, 
and  spungy  matter. 

When  these  compound  particles  are  diluted  with  a small 
quantity  of  an  aqueous  fluid,  they  feel  slippery,  clammy,  and 
unctuous  to  the  touch,  and  effect  the  taste  with  a kind  of  ropy 
sweetness.  And  when  a proper  quantity  of  the  fluid  is  added, 
a commotion  is  presently  excited,  and  afterwards  a subtle  sepa- 
ration. 

This  commotion  and  separation  first  begins  in  the  whole  sub- 
stance ; for  before  the  addition  of  water,  the  subject  may  re- 
main in  dry,  solid,  and  large  pieces,  as  in  malt,  sugar,  &c. 
which  being  reduced  to  powder,  each  grain  thereof  is  an  agree- 
ment of  many  smaller  compound  corpuscles;  these  being  put 
into  water,  dissolve,  and  separately  float  therein,  till  at  length, 
they  become  so  small  as  to  be  invisible,  and  only  thicken  the 
consistence  of  the  liquor. 

These  corpuscles  being  thus  separated  from  one  another, 
there  next  ensues  a separation  of  their  component  particles ; 
that  is,  the  salt,  the  oil,  and  the  earth,  are  divided  by  the  in- 
terposition of  the  aqueous  particles. 

Ee 


818 


SECRETS  IN  ARTS.  TRADES,  kc. 


The  first  commotion  is  no  more  than  a bare  solution  ; for 
the  saline  particles  being  easily  dissolvable  in  water,  they  are 
immediately  laid  hold  of  by  the  aqueous  particles,  and  carried 
about  with  them.  But  the  succeeding  separation,  or  fermen- 
tative motion,  is  a very  different  thing:  for  by  this  the  saline 
particles  are  divided  from  those  of  oil  and  earth,  partly  by  the 
impulse  of  the  others  in  their  motion,  and  partly  by  the  force 
of  the  aqueous  particles,  which  are  now  continually  meeting 
and  dashing  against  them. 

This  motion  is  performed  by  the  water,  as  a fluid,  or  aggre- 
gate of  an  infinite  number  of  particles,  in  actual  and  perpetual 
motion;  their  smallness  being  proportionable  to  that  of  the 
fermenting  corpuscles,  and  their  motion,  or  constant  suscepti- 
bility of  motion,  by  warmth,  and  the  motion  of  the  air,  dis- 
posing them  to  move  other  subtle  moveable  corpuscles  also. 
The  certain  agreement  of  figure,  or  size,  between  the  aque- 
ous particles,  and  those  of  the  salt  in  the  fermentable  subject, 
tends  greatly  to  increase  this  commotion  ; for,  by  this  means, 
they  are  readily  and  very  closely  connected  together;  and  there- 
fore move  almost  like  one  and  the  same  compound  corpuscle: 
whilst  the  water  is  not  at  all  disposed  to  cohere  immediately 
with  either  the  oil  or  earth.  And  thus  an  unequal  concussion 
is  excited  in  the  compound  corpuscles  of  the  fermentable  sub- 
ject ; which  concussion  at  length  strikes  out  the  saline  particle, 
loosens  the  others,  and  finally  produces  a separation  of  the  ori- 
ginal connexion  of  the  subject. 

An  aqueous  fluid,  therefore,  is  the  true,  and  indeed,  the  on- 
ly instrument  for  procuring  a fermentable  motion  in  these  com- 
pound corpuscles  of  the  subject ; for  were  an  oily  fluid  poured 
upon  any  fermentable  subject,  no  vinous  fermentation  would 
ensue;  as  the  oil  could  neither  give  a sufficient  impulse  on  the 
compound  corpuscles,  which  are  grosser  than  its  own  consti- 
tuent particles,  nor  divide  the  oily  or  saline  particles  of  the 
subject  from  their  connexion  with  the  others,  which  detain, 
and,  as  it  were,  envelope  or  defend  them  from  its  action. 

The  compound  corpuscles  of  the  fermentable  subject  being 
affected  by  the  perpetual  motion  ot  the  particles  of  the  aque- 
ous fluid,  a proper  degree  of  motion  is  necessary,  or  that  the 
particles  move  with  a proper  degree  of  velocity,  which  princi- 
pally depends  on  external  heat.  A considerable  degree  of  cold, 
indeed,  will  not  absolutely  prevent  fermentation,  though  it 
will  greatly  retard  it ; and  a boiling  heat  will  prevent  it  still 
more.  A tepid,  or  middle  degree  of  heat  between  freezing  or 
boiling,  is  therefore  the  most  proper  for  promoting  and  quick- 
ening the  operation. 

The  admission  of  air,  also,  though  not  of  absolute  necessi- 
ty, yet  greatly  promotes  and  quickens  the  action,  as  being  a 
capital  instrument  in  putting  in  a proper  degree  of  motion,  the 


SECRETS  IN  ARTS,  TRADES,  he. 


19 


oily  particles  of  the  subject.  But  whilst  the  air  thus  contri- 
butes to  hasten  the  effect,  it  causes  at  the  same  time  by  its  ac- 
tivity some  remarkable  alterations  in  the  oily  particles ; for  it 
not  only  moves,  but  absolutely  dissolves  and  displaces  them 
from  their  original  connexions  ;.and  thus  carries  them  off  with 
itself  from  the  whole  mass.  And,  therefore,  though  the  con- 
sideration of  the  air  does  not  so  properly  belong  to  fermenta- 
tion in  the  general,  yet  it  does  in  particular;  as  having  an  ac- 
cidental power  to  alter  every  species  of  this  operation  ; conse- 
quently its  agency  ought  to  be  well  understood,  either  to  pro- 
cure alterations  at  pleasure  in  the  fermenting  mass,  or  to  pre- 
vent and  correct  impending  dangers. 

The  oily  particles  thus  separated  and  dissolved  by  the  air, 
are  also  elastic,  though  they  probably  derive  that  property  from 
their  intercourse  with  the  air  itself,  and  their  being  rendered 
extremely  minute. 

When,  therefore,  an  aqueous  fluid  is  added  to  a fermenta- 
ble subject,  exposed  to  a temperate  heat,  a fermentative  strug* 
gle  immediately  arises,  the  saline  part  of  the  compound  parti- 
cles being  dissolved  by  the  continual  intestine  motion  of  the 
water,  and  carried  up  and  down  with  it  in  all  directions,  amidst 
an  infinite  number  of  other  particles,  as  well  fermentable  as 
aqueous  ones  ; whence,  by  this  collision  and  attrition,  the  sa- 
line particles  are  dissolved,  and  separated  from  their  connex- 
ion with  the  oily  and  earthy.  And  as  the  oily  particles  are  the 
most  subtle  and  elastic,  they  would,  by  this  means,  be  thrown 
tip  to  the  surface  of  the  liquor,  and  carried  off  by  the  air,  were 
they  not  closely  connected  with  the  earthy  ones,  whose  gravity 
prevents  their  evaporation,  and,  by  coming  in  contact  with  o- 
thers  of  the  same  kind,  form  aggregations,  and  sink  down  with 
the  oily  particles,  to  the  bottom.  But  before  these  can  form  a 
bulk  too  large  to  be  supported  by  the  water,  many  of  the  oily 
particles  are,  by  their  frequent  collisions  with  the  aqueous  fluid, 
separated  from  the  earthy  ones  ; and  by  degrees,  more  strongly 
connected  again  with  the  saline  ones  : whilst,  on  the  other 
hand,  the  same  saline  particles  imbibe  some  of  the  earthy  ones, 
which  being  left  single,  upon  their  separation  from  the  oily 
particles,  floated  about  separately  in  the  fluid. 

And  hence  proceed  the  several  different  consequences  of  fer- 
mentation ; viz.  1.  From  the  separation  of  the  saline  particles 
of  the  fermentable  subject  proceeds  the  tart,  saline,  or  acid 
taste  of  the  liquor ; which  is  more  sensible  at  first,  before  the 
liquor  is  duly  composed  and  settled,  or  the  due  arrangement 
and  connexion  of  the  saline  particles  with  those  of  the  oily  and 
earthy  kinds,  completed  ; after  which  the  liquor  proves  milder, 
softer,  or  less  pungent.  2.  From  the  oily  particles  being  set 
at  liberty,  proceeds  the  strong  smell  of  the  liquor,  and  the  head 
er  shining  skin  upon  the  surface.  3.  The  earthy  particles  cob 


.320 


SECRETS  IN  ARTS,  TRADES,  &c. 


fecting  together  in  clusters,  cause  the  fluid  to  appear  turbid, 
and  afterwards  a visible  earthy^  or  clay-like  matter  to  be  preci- 
pitated : and  some  of  the  earthy  parts,  in  their  motion,  arriv- 
ing at  the  head,  or  oily  skin  on  the  surface,  cause  it  to  thicken  ; 
and  afterwards  taking  it  down  along  with  it,  thus  constitute 
the  lees  which  abound  in  oil.  4.  From  this  new  struggle  or 
collision,  which  is  productive  both  of  solution  and  a new  con- 
nexion in  the  saline  and  earthy  corpuscles,  proceeds  the  ebulli- 
tion in  fermentation.  And,  lastly  , by  the  same  repeated  coali- 
tion of  the  oily  with  the  aqueous  and  saline  particles  the  in- 
flammable spirit  is  produced. 

Having  thus  laid  down  a concise  theory  of  fermentation,  we 
shall  now  proceed  to  the  practice. 

The  wash  being  brought  to  a tepid,  or  luke-warm  state  in  the 
laacks,  a proper  quantity  of  a good-conditioned  ferment  is  add- 
ed ; but  if  the  ferment  be  solid,  it  should  be  previously  broke 
into  small  pieces,  and  gently  thinned  either  with  the  hand, 
wisp,  &c.  in  a little  of  the  tepid  liquor.  A complete  and  uni- 
form solution,  however,  should  not  be  attempted,  because  that 
would  greatly  weaken  the  power  of  the  ferment,  or  destroy  its 
future  efficacy.  The  whole  intended  quantity,  therefore,  be- 
ing thus  loosely  mixed  with  a moderate  parcel  of  the  liquor, 
and  kept  in  a tepid  state,  either  by  setting  it  near  the  fire,  or 
otherwise,  and  free  from  the  too  rude  commerce  of  the  exter- 
nal air ; more  of  the  insensibly  warm  liquor  ought  to  be  added, 
at  proper  intervals,  till  at  length,  the  whole  quantity  is  properly 
vset  to  working  together.  And  thus,  by  dividing  the  business 
into  parts,  it  may  much  more  speedily  and  effectually  be  per- 
formed, than  by  attempting  it  all  at  once. 

The  whole  quantity  of  liquor  being  thus  set  to  work,  secur- 
ed in  a proper  degree  of  warmth,  and  defended  from  a too  free 
intercourse  of  the  external  air,  nature  itself,  as  it  were,  finish- 
es the  process,  and  renders  the  liquor  fit  for  the  still. 

By  ferments,  we  mean  any  substance,  which,  being  added 
to  any  rightly  disposed  fermentable  liquor,  will  cause  it  to  fer- 
ment much  sooner  and  faster  than  it  would  of  itself ; and,  con- 
sequently, render  the  operation  shorter ; in  contradiction  to 
those  abusively  called  so,  which  only  correct  some  fault  in  the 
liquor,  or  give  it  some  flavor.  Hence  we  see,  that  the  princi- 
pal use  of  ferments  is  to  save  time,  and  make  dispatch  in  busi- 
ness; whilst  they  only  occasionally,  and,  as  it  were  by  acci- 
dent, gave  a flavor,  and  increase  the  quantity  of  spirit.  And, 
accordingly,  any  fermentable  liquor,  may.  without  the  addi- 
tion of  any  ferment,  by  a proper  management  of  heat  alone, 
be  brought,  to  ferment,  and  even  more  perfectly,  though  much 
slower,  than  with  their  assistance. 

These  ferments  are,  in  general,  the  flowers  and  faec  ill 
fermentable  liquors,  generated  and  thrown  to  the  surface,  or 


SECRETS  m ARTS,  TRADES,  &c. 


32 1 


deposited  at  the  bottom,  either  during  the  act  of  fermentation, 
or  after  the  operation  is  finished. 

Two  of  these  are  procurable  in  large  quantities,  and  at  a 
small  expence ; we  mean  beer-yeast  and  wine-lees ; a prudent 
and  artificial  management,  or  use  of  which,  imght  render  the 
business  of  distillation  much  more  facile,  certain  and  advanta- 
geous. 

It  has  been  esteemed  very  difficult,  and  a great  discourage- 
ment in  the  business  of  distillation,  to  procure  a sufficient  stock 
of  these  materials,  and  preserve  them  at  all  times  ready  for 
use.  The  whole  secret  consists  in  dexterously  freeing  the  mat- 
ter from  its  superfluous  moisture;  because  in  its  fluid  state,  it 
is  subject  to  a farther  fermentation,  which  is  productive  of  cor- 
ruption ; in  which  state  it  becomes  intolerably  foetid  and  cada- 
verous. 

The  method  of  exposing  it  to  the  air  till  it  has  required  a 
proper  consistence,  is  subject  to  great  inconveniences ; and  so 
peculiar  and  careful  a management  necessary,  that  it  rarely 
succeeds. 

The  best  way,  therefore,  is  to  press  it  very  slowly  and  gra- 
dually, in  a thick,  close,  and  strong  canvas  bag,  after  the  man- 
ner of  wine-lees,  by  the  tail  press,  till  it  becomes  a kind  of 
cake  ; which,  though  soft,  will  easily  snap  or  break  dry  and 
brittle  between  the  fingers.  Being  reduced  to  that  consistence, 
and  closely  packed  up  in  a tight  cask,  it  will  remain  a long  time 
uncorrupted,  preserve  its  fragrancy,  and  consequently  fit  to  be 
used  for  fermenting  tne  finest  liquor. 

The  same  method  is  also  practicable,  and  to  the  same  ad- 
vantage, in  the  flowers  or  yeast  of  wine,  which  may  be  thus 
commodiously  imported  from  abroad:  or,  if  these  cannot  be 
procured,  others  of  equal  efficacy  may  be  procured  from  fresh 
wine-lees,  by  barely  mixing  and  stirring  them  into  a proper 
warm  liquor,  whence  the  lighter  or  more  volatile  and  active 
parts  of  the  lees  v/ill  be  thrown  to  the  surface  and  may  easily 
be  taken  off  and  preserved,  by  the  above-mentioned  method, 
in  any  desired  quantity.  And  hence,  by  a very  easy  process, 
an  inexhaustable  supply  of  the  most  useful  ferments  may  be 
readily  and  successively  procured,  so  as  to  prevent  for  the  fu- 
ture all  occasion  of  complaint  for  want  of  them,  in  the  distil- 
ler’s business. 

Experience  has  demonstrated,  that  all  ferments  abound  much 
more  in  essential  oil,  than  the  liquor  which  produced  them : 
and  consequently  they  retain,  in  a very  high  degree,  the  smell 
and  flavour  of  the  subject.  It  is  therefore  requisite,  before  the 
ferment  is  applied,  to  consider  what  flavor  is  intended  to  be 
introduced,  or  what  species  of  ferment  is  most  proper  for  the 
liquor. 

The  alteration  thus  caused  by  ferments  is  so  conquerable,  as 

lie  3 


322 


SECRETS  IN  ARTS,  TRADES,  See. 


to  render  any  neutral  fermentable  liquor  of  the  same  flavor  with 
that  which  yielded  the  ferment.  This  observation  is  of  much 
greater  moment  than  will  presently  be  conceived,  for  a new 
scene  is  hereby  opened,  both  in  the  business  of  distillation,  and 
others  depending  upon  fermentation.  It  must,  however,  be 
observed,  that  its  benefit  does  not  extend  to  malt,  treated  in 
the  common  method ; nor  to  any  other  subject  but  what  af- 
fords a spirit  tolerably  pure  and  tasteless.  For  otherwise,  in- 
stead of  producing  a simple,  pure  and  uniform  flavor,  it  causes 
a compound,  mixed  and  unnatural  one.  How  far  the  fine  stil- 
ler may  profit  by  it,  well  deserves  his  attention  ; and  whether 
our  native  cyder  spirit,  crab  spirit,  & c.  which  have  very  little 
flavor  of  their  own,  may  not,  by  this  artifice,  be  brought  near- 
ly, if  not  entirely,  into  the  state  of  some  foreign  brandies,  so 
highly  esteemed,  is  recommended  to  experience. 

It  is  common  with  distillers,  in  order  to  increase  the  quanti- 
ty of  spirit,  to  give  it  a particular  flavor,  or  improve  its  vino- 
sity,  to  add  several  things  to  the  liquor  during  the  time  it  is  in  a 
state  of  fermentation  ; and  these  additions  may  properly  be  re- 
duced to  salts,  acids,  aromatics  and  oils. 

All  rich  vegetable  juices,  as  treacle,  honey,  & c.  which  ei- 
ther want  a natural  acid,  have  been  deprived  of  it,  or  contain 
it  in  too  small  a quantity,  will  be  greatly  improved  by  adding, 
at  the  beginning  of  the  operation,  a small  quantity  of  the  ve- 
getable or  fine  mineral  acids  ; as  oil  of  sulphur,  Glauber’s  spi- 
rit of  salt,  juice  of  lemons,  or  an  aqueous  solution  of  tartar. 
These  additions  will  either  give,  or  greatly  improve  the  vinous 
acidity  of  the  subject,  but  not  increase  the  quantity  of  the  spi- 
rit, that  intention  being  performed  by  aromatics  and  oils. 

All  pungent  aromatics  have  a surprising  quality  of  increasing 
the  quantity  of  the  spirit  as  well  as  in  altering  or  improving  the 
flavor ; but  their  use  requires  that  the  fermentation  should  be 
performed  in  close  vessels.  And  if  a large  quantity  be  intend- 
ed to  be  added,  care  must  be  taken  not  to  do  it  all  at  once, 
lest  the  oiliness  of  the  ingredients  should  check  the  operation. 
But  if  the  flavor  be  the  principal  intention,  they  should  not  be 
added  till  the  operation  is  nearly  finished.  After  the  same 
manner  a very  considerable  quantity  of  any  essential  vegetable 
oil  may  be  converted  into  a surprisingly  large  quantity  of  in- 
flammable spirit:  but  great  caution  is  here  also  necessary  not 
to  drop  it  too  fast,  or  add  too  large  a quantity  at  a time,  which 
would  damp  the  fermentation  ; it  being  the  surest  method  of 
checking  or  totally  stopping  this  operation  at  any  point  of  time 
required.  The  best  method,  therefore,  of  adding  the  oil  so  as 
to  avoid  all  inconveniences,  is  to  rub  the  oil  in  a mortar  with 
sugar,  which  the  chemists  call  making  an  Olasaeckaram , by 
which  means  the  tenacity  of  the  oil  will  be  destroyed,  and  the 
whole  readily  mix  with  the  liquor  and  immediately  ferment 


SECRETS  IN  ARTS,  TRADES,  &c. 


225 


with  it.  The  distiller  would  do  well  to  consider  these  obser- 
vations attentively,  as  he  may  thence  form  an  advantageous 
method  of  increasing  the  quantity  of  spirits,  and  at  the  same 
time  greatly  improve  their  quality  and  flavor. 

Rut  in  order  to  put  these  observations  in  practice,  particu- 
lar regard  inust  be  had  to  the  containing  vessel  in  which  the 
fermentation  is  performed,  the  exclusion  of  the  air,  and  the 
degree  of  the  external  heat  or  cold. 

With  regard  to  the  containing  vessel ; its  purity,  and  the 
provision  for  rendering  it  occasionally  close,  are  chiefly  to  be 
considered.  In  cleansing  it,  no  soap,  or  other  unctuous  body 
should  be  used,  for  fear  of  checking  the  fermentation  ; and,  for 
the  same  reason,  all  strong  alkaline  lixivium s should  be  avoid- 
ed. Lime-water,  or  a turbid  solution  of  quick-lime  may  be 
employed  for  this  purpose,  without  producing  any  ill  effect  - 
it  will  also  be  of  great  service  in  destroying  a prevailing  acetous 
salt,  which  is  apt  to  generate  in  the  vessels  when  the  warm  air 
has  free  access  to  them  ; and  tends  to  prevent  the  order  of  fer- 
mentation, and,  instead  of  a wine  or  wash,  produce  a vinegar. 
Special  care  must  also  be  had,  that  no  remains  of  yeast,  or  ca- 
daverous remains  of  former  fermented  matters,  hang  about  the 
vessels,  which  would  infect  whatever  should  be  afterwards  put 
into  them  ; and  cannot,  without  the  utmost  difficulty,  be  per- 
fectly cured  and  sweetened. 

The  occasional  closeness  of  the  vessels  may,  in  the  large 
way,  be  provided  for  by  covers  properly  adapted  ; and,  in  the 
small  way,  by  valves,  placed  in  light  casks.  These  valves  will 
occasionally  give  the  necessary  vent  to  preserve  the  vessel,  dur- 
ing the  height  of  the  fermentation ; the  vessel  otherwise  remain- 
ing perfectly  close,  and  impervious  to  the  air. 

It  is  a mistake  of  a very  prejudicial  nature,  in  the  business  of 
fermentation,  to  suppose,  that  there  is  an  absolute  necessity 
for  a free  admission  of  the  external  air.  The  express  contrary 
is  the  truth,  and  very  great  advantages  will  be  found  by  prac- 
tising according  to  this  supposition.  A constant  influx  of  the 
external  air,  if  it  does  not  carry  off  some  part  of  the  spirit  al- 
ready generated,  yet  certainly  catches  up  and  dissipates  the 
Ine,  subtle,  or  oleaginous  and  saline  particles,  whereof  the 
spirit  is  made,  and  thus  considerably  lessens  the  quantity.  By 
a close  fermentation  this  inconveniency  is  avoided  ; all  air, 
except  that  included  in  the  vessel,  being  excluded.  The 
whole  secret  consists  in  leaving  a moderate  space  for  the  air  at 
the  top  of  the  vessel,  unpossessed  by  the  liquor.  When  the 
liquor  is  once  fairly  at  work  to  bung  it  down  close,  and  thus 
suffer  it  to  finish  the  fermentation,  without  opening  or  giving 
It  any  more  vent  than  that  afforded  it  by  a proper  valve  placed 
in  the  cask;  which,  however,  is  not  of  absolute  necessity, 
when  the  empty  space?  or  rather  that  possessed  by  the  air,  is 


324 


SECRETS  IN  ARTS,  TRADES,  See. 


about  one  tenth  of  the  gage;  the  artificial  air,  generated  in  the 
operation  being  then  seldom  sufficient  to  open  a strong  valve, 
or  at  most  not  to  endanger  the  cask. 

This  method  may  be  practised  to  good  advantage  by  those 
whose  business  is  not  very  large  ; but  it  requires  too  much  time 
to  be  used  by  the  large  dealers,  who  are  in  a manner  forced  to 
admit  the  free  air,  and  thus  sustain  a considerable  loss  in 
their  quantity  of  spirit,  that  the  fermentation  may  be  finished 
in  the  small  time  allowed  for  that  purpose.  It  may,  however, 
be  said,  that  the  silent,  slow,  and  almost  imperceptible  vin- 
ous fermentation,  is  universally  the  most  perfect  and  advan- 
tageous. 

During  the  whole  course  of  this  operation,  the  vessel  should 
be  kept  from  all  external  cold,  or  considerable  heat,  in  an  equal, 
uniform,  and  moderate  temperature.  In  the  winter,  a stove 
room,  such  as  is  common  in  Germany,  would  be  very  conven- 
ient for  this  purpose ; the  vessel  being  placed  at  a proper  dis- 
tance from  the  stove : but  at  other  seasons  no  particular  ap- 
paratus is  necessary  with  us  in  England,  if  the  place  allotted 
for  the  business  be  but  well  defended  from  the  summer’s  heat, 
and  the  ill  effects  of  cold  bleak  northern  winds. 

The  operation  is  known  to  be  perfected  when  the  hissing, 
or  small  bubbling  noise  can  be  no  longer  heard,  upon  applying 
the  ear  to  the  vessel;  and  also  by  the  liquor  itself  appearing 
clear  to  the  eye,  and  having  a pungent  sharpness  on  the  tongue. 
And  that  it  may  fully  obtain  these  properties,  and  be  well  fitted 
to  yield  a pure  and  perfectly  vinous  spirit  by  distillation,  it 
should  be  suffered  to  stand  at  rest  in  a somewhat  cooler  place, 
if  practicable,  than  that  in  which  it  was  fermented  ; till  it  has 
thoroughly  deposited  and  cleansed  itself  of  the  gross  lee,  and 
become  perfectly  transparent,  vinous  and  fragrant ; in  which 
state  it  should  be  committed  to  the  still,  and  the  spirit  obtain- 
ed will  not  only  exceed  that  obtained  in  the  common  way  v» 
quantity,  but  also  in  fragrance,  pungency,  and  vinosity. 

Article  III. 

Of  Distillation  in  general. 

Having  in  the  two  preceding  articles  laid  down  the  best 
methods  of  brewing  and  fermentation,  we  shall  now  proceed  to 
the  method  of  distillation. 

And  in  order  to  lead  our  readers  methodically  through  the 
path  which  lies  before  them,  we  shall  begin  with  explaining  the 
principles  of  distillation;  or,  the  method  of  extracting  the  spi- 
rituous parts  of  bodies. 

To  extract  the  spirits  is  to  cause  such  an  action  by  heat,  as 
to  cause  them  to  ascend  in  vapour  from  the  bodies  whiph  de- 
tain them. 


SECRETS  IN  ARTS,  TRADES,  kc4 


325 


If  this  heat  be  natural  to  bodies,  so  that  the  separation  be 
made  without  any  adventitious  means,  it  is  called  fermentation, 
which  we  have  already  explained. 

If  it  be  produced  by  fire,  or  other  heating  power,  in  which 
the  alembic  is  placed,  it  is  called  digestion,  or  distillation ; 
digestion,  if  the  heat  only  prepares  the  materials  for  the  distil- 
lation of  their  spirits  ; and  distillation,  where  the  action  is  of 
sufficient  efficacy  to  cause  them  to  ascend  in  vapour,  and  distil. 

This  heat  is  that  which  puts  the  insensible  parts  of  a body, 
whatever  it  be,  into  motion,  divides  them,  and  causes  a pas- 
sage  for  the  spirits  inclosed  herein,  by  disengaging  them  from 
the  phlegm,  and  the  earthy  particles  by  which  they  are  inclosed. 

Distillation  considered  in  this  light,  it  not  unworthy  the  at- 
tention and  countenance  of  the  learned.  This  art  is  of  infinite 
extent ; whatever  the  whole  earth  produces,  flowers,  fruits, 
seeds,  spices,  aromatic  and  vulnerary  plants,  odoriferous  drugs, 
See.  are  its  objects,  and  come  under  its  cognizance ; but  we 
generally  confine  it  to  liquids  of  taste  and  smell;  and  to  the 
simple  and  spirituous  waters  of  aromatic  and  vulnerary  plants. 
With  regard  to  its  utility,  we  shall  omit  saying  any  thing  here* 
as  we  shall  give  sufficient  proofs  of  it  in  the  sequel. 

Article  IV. 

Of  Bodies  proper  for  Distillation . 

This  article  alone  might  make  a volume,  were  we  to  make 
a particular  enumeration  of  ail  its  parts  ; but,  as  we  have  al- 
ready observed,  we  shall  confine  ourselves  to  the  distillation  of 
simple  and  compound  waters. 

If  we  acquit  ourselves  to  the  satisfaction  of  the  public,  we 
shall  enjoy  the  pleasure  of  having  treated  of  one  part  entirely 
new  ; and,  indeed,  the  only  one  that  has  been  overlooked. 

The  bodies  proper  for  distillation,  are  Bowers,  fruits,  seeds* 
spices,  and  aromatic  plants. 

By  distillation  and  digestion,  we  extract  the  colour  and  smell 
of  flowers,  in  simple  waters  and  essences. 

We  extract  from  fruits,  at  least  from  some,  colour,  taste,  &c. 

From  aromatic  plants,  the  distiller  draws  spirits,  essences, 
simple,  and  compound  waters. 

From  spices  are  procured  essences,  or,  in  the  language  of  the 
chemists,  oils  and  perfumes,  and  also  pure  spirits. 

From  seeds,  or  berries,  are  drawn  simple  waters,  pure  spi* 
rits,  and  from  some,  as  those  of  annise,  fennel,  and  juniper, 
oil. 

T cc!f>ur  of  flowers  is  extracted  by  infusion,  and  likewise 
by  digestion  in  brandy  or  spirit  of  wine ; the  smell  is  extracted 


326  SECRETS  m ARTS,  TRADES,  &c . 

by  distillation  ; the  simple  water  with  brandy,  or  spirit  of 
wine. 

What  is  extracted  of  the  colour  of  flowers,  by  infusion  in 
water  by  a gentle  heat,  or  by  digestion  in  brandy,  or  spirits  of 
wine,  is  called  in  the  distiller’s  phrase,  tincture  of  flowers. 

The  colour  of  fruits  is  extracted  in  the  same  manner,  either 
by  infusion  or  digestion;  their  taste  is  also  procured  by  the 
same  processes.  But  let  it  be  observed,  that  the  time  of  these 
operations  must  be  limited  ; for  otherwise  the  fruit,  after  fer- 
mentation, would  render  it  acid.  The  taste  is  also  extracted 
by  distillation  in  spirit  of  wine. 

From  aromatic  plants,  are  extracted  by  the  alembic,  pure 
spirits,  odours,  and  simple  waters.  But  these  require  different 
methods  of  distillation.  The  first  by  water,  or  brandy  only, 
the  second  by  rectified  spirit,  which  will  give  them  the  great- 
est excelleRcy  they  are  capable  of.  — 

The  plants  themselves  with  their  flowers  may  also  be  distil- 
led, which  is  still  better. 

From  spices  are  drawn  spirits,  and  oily,  or  spirituous  quin- 
tessences. The  spirits  are  drawn  by  brandy,  or  spirit  of  wine, 
with  very  little  water  ; the  oils  are  distilled  per  descensum  ; and 
the  spirituous  quintessences  by  pounding  the  spices,  and  after 
infusing  them  in  spirit  of  wine,  decanting  it  gently  by  inclina- 
tion. 

From  seeds  are  extracted  simple  waters,  spirits,  and  oils. 
Very  few  of  the  first  and  last  spirits  being  what  is  generally  ex- 
tracted from  seeds  and  berries. 

Some  distillers,  through  a notion  of  frugality,  distil  seeds 
with  water  ; but  their  liquors  are  not  to  be  compared  with 
those  which  are  distilled  with  spirits.  When  oils  are  drawn 
from  seeds,  the  operation  is  performed  either  by  the  Balneum. 
Mari#,  or  the  vapour-bath. 

We  only  deliver  in  this  place,  the  first  elements  of  each  of 
these  operations,  which  will  be  further  illustrated  in  the  sequel 
when  we  treat  more  particularly  of  these  subjects. 

Article  V. 

Of  what  is  procured  by  Distillation . 

By  Distillation  are  procured  spirit,  essence,  simple  waters* 
and  phlegm. 

Spirits  are  very  difficult  to  be  defined.  I consider  them  as 
i the  most  subtle  and  volatile  parts  of  a body. 

All  bodies  without  exception  have  spirits  more  or  less. 

These  parts  are  an  ignited  substance,  and  consequently  by 
their  own  nature  disposed  to  a violent  motion. 

These  volatile  particles  are  more  or  less  disposed  to  separate 


SECRETS  IN  ARTS,  TRADES,  8cc.  S27 

themselves,  as  the  bodies  are  more  or  less  porous,  or  abound 
with  a greater  or  lesser  quantity  of  oil. 

By  the  term  essence,  we  understand  the  oleaginous  parts  of 
a bodv.  An  essential  oil  is  found  in  all  bodies,  being  one  of 
their  constituent  principles.  I have  observed  in  all  distillations, 
spirit  of  wine  excepted,  a soft  unctuous  substance  floating  on 
the  phlegm  ; and  this  substance  is  oil,  which  we  call  essence, 
and  this  is  what  we  endeavour  to  extract. 

Simple  waters  are  those  distilled  from  plants,  flowers,  See . 
without  the  help  of  water,  brandy,  or  spirit  of  wine*  These 
waters  are  commonly  odoriferous,  containing  the  odour  of  the 
body  from  whence  it  is  extracted,  and  even  exceeds  in  smell 
the  body  itself. 

Phlegm  is  the  aqueous  particles  of  bodies,  but  whether  an 
active  or  passive  principle,  we  shall  leave  to  the  decision  of 

chemists. 

It  is  of  the  last  importance  to  a distiller  to  be  well  acquaint- 
ed with  its  nature;  many  mistaking  for  phlegm  several  white 
and  clouded  drops,  which  first  fall  into  the  receiver,  when  the 
still  begins  to  work.  These,  however,  are  often  the  most  spi- 
rituous particles  of  the  matter  in  the  alembic,  and  consequently 
ought  to  be  preserved.  What  has  given  occasion  to  this  mis- 
take, is  some  humidity  remaining  in  the  head,  See.  of  thea- 
lembic.  And  had  it  been  thoroughly  wiped,  the  first  drops 
would  have  been  equally  bright  with  any  during  the  whole 
operation. 

The  following  remark  deserves  attention.  In  bodies  that  have 
been  digested,  the  spirits  ascend  first;  whereas  in  charges  not 
digested,  the  phlegm  ascends  before  the  spirits.  The  reason 
of  this  is  very  plain  and  natural. 

In  substances  previously  digested,  the  action  of  the  fire  no 
sooner  causes  the  matter  in  the  alembic  to  boil,  than  the  spirits, 
being  the  most  volatile  parts,  detach  themselves  and  ascend  in- 
to the  head  of  the  alembic.  But  when  the  matter  to  be  distil- 
led has  not  undergone  a proper  digestion,  the  spirits  being  en- 
tangled in  the  phlegm,  are  lessdisposed  to  ascend  till  the  phlegm 
itself  separates  and  gives  them  room  to  fly  upwards. 

The  phlegm  being  aqueous  rises  first : this  is  more  particu- 
larly observable  in  spices.  I am,  however,  inclined  to  believe, 
that  were  the  operation  performed  in  an  alembic,  whose  head 
was  at  a great  distance  from  the  surface  of  the  charge,  they 
would  not  ascend  high  enough  to  come  over  the  helm,  but  fall 
back  again  by  their  own  gravity,  and  by  that  means  leave  the 
spirits  at  liberty  to  ascend.  But  in  the  common  refrigeratory 
alembic  this  always  happens. 

If  this  observation  be  not  readily  admitted,  I appeal  to  ex- 
perience, which  I desire  may  be  the  test  of  every  thing  I shall 
advance. 


.328 


SECRETS  m ARTS,  TRADES,  See. 


Another  observation,  which  has  verified  the  above  assertion 
by  innumerable  instances,  is,  that  in  an  extraordinary  run  of 
business,  when  I had  not  time  sufficient  to  digest  the  substan- 
ces, I used  to  bruise  them  in  a mortar ; but  notwithstanding 
the  trituration  the  phlegm  first  came  over  and  afterwards  the 
spirits.  But  I desire  to  be  understood,  that  speak  here  only 
of  the  volatile  parts  of  the  plants  not  drawn  with  vinous  spirits, 
but  contained  in  a simple  water. 

Another  remark  I must  add,  and  which  I hope  will  be  ac- 
ceptable to  the  curious,  as  it  has  not  yet  been  made  public,’ 
though  doubtless  the  observation  has  often  occurred  to  others  ; 
it  is  this : that  in  mixed  charges,  consisting  of  flowers,  fruits, 
and  aromatic  plants,  put  into  the  alembic  without  a previous 
digestion,  the  spirits  of  the  flowers  ascend  first;  and  notwith- 
standing the  mixture,  they  contracted  nothing  of  the  smell  or 
taste  of  the  fruits  and  plants.  Next  after  the  spirits  of  the 
flowers,  those  of  the  fruits  ascend,  not  in  the  least  impregnat- 
ed with  the  smell  or  taste  of  either  of  the  flowers  or  plants. 
And  in  the  last  place,  the  spirits  of  the  plants  distil  no  less  neat 
than  the  former.  Should  this  appear  strange  to  any  one,  expe- 
rience will  convince  him  of  the  truth. 

Another  observation  I have  made  on  aromatic  herbs,  is,  that 
whether  they  are  or  are  not  digested,  whether  the  spirits  or 
phlegm  ascend  first,  the  spirits  contain  very  little  of  the  taste 
and  smell  of  the  plants  from  whence  they  were  extracted ; and 
I have  always  been  obliged  to  put  to  these  spirits  a greater  or 
lesser  quantity  of  the  phlegm,  in  order  to  give  the  spirits  I had 
drawn  the  taste  of  an  aromatic  odour  of  the  plants,  the  phlegm 
containing  the  greatest  quantity  of  both. 

This  observation  I insert  as  of  great  use  to  those  who  prac- 
tice distillation. 

As  the  term  digestion  often  occurs  in  this  essay,  I cannot 
avoid  pointing  out  its  advantages,  and  even  shew  the  necessity 
of  using  it  in  several  circumstances. 

Substances  are  said  to  be  in  digestion  when  they  are  infused 
in  a menstruum  over  a very  slow  fire.  This  preparation  is  of- 
ten necessary  in  distillation,  for  it  tends  to  open  the  bodies,  and 
thereby  free  the  spirits  from  their  confinements,  whereby  they 
are  better  enabled  to  ascend. 

Cold  digestions  are  the  best;  those  made  by  fire,  or  in  hot 
materials,  diminish  the  quality  of  the  goods,  or  some  part,  as 
the  most  volatile,  will  be  lost. 

In  order  to  procure  essences,  the  bodies  must  be  prepared  by 
digestion.  It  is  even  of  absolute  necessity  for  extracting  the 
spirits  and  essences  of  spices. 


SECRETS  IN  ARTS,  TRADES,  &c.  329 

Article  VI. 

Of  the  proper  Season  for  Distilling . 

Flowers  of  all  kinds  must  be  distilled  in  their  proper  seasons. 
To  begin  with  the  violet.  Its  colour  and  smell  can  only  be  ex- 
tracted when  it  is  in  its  greatest  vigour,  which  is  not  at  its  first 
appearance,  nor  when  it  begins  to  decay.  April  is  the  month 
in  which  it  is  in  its  greatest  perfection  ; the  season  being  never 
so  forward  in  March , as  to  give  the  violet  its  whole  fragrancy. 

The  same  must  be  observed  of  all  other  flowers.  And  let 
them  be  gathered  at  the  hottest  time  of  the  day  ; the  odour 
and  fragrancy  of  flowers  being  then  in  their  greatest  perfection. 

The  same  observation  holds  good  with  regard  to  fruits  v to 
which  must  be  added,  that  they  are  the  finest,  and  of  the  most 
beautiful  colour,  especially  those  from  whence  tinctures  are 
drawn  ; they  must  be  free  from  all  defects,  as  the  goods  would 
by  that  means  be  greatly  detrimented. 

Bernes  and  aromatics  may  be  distilled  at  any  season,  all  that 
is  necessary  being  a good  choice.  But  in  this  distillers  are 
sometimes  mistaken,  as  may  easily  happen  without  a very  ac- 
curate knowledge.  We  shall  therefore,  in  the  sequel,  lay  down 
more  particular  directions  for  making  a proper  choice  of  ma- 
terials. 

Article  VII. 

Of  il\e  Filtration  of  Liquors. 

Filtration  consists  in  passing  liquors  through  some  porous 
substance,  in  order  to  free  them  from  those  particles  which 
obscure  their  brightness 

Nothing  is  finer  than  a liquor  newly  distilled  ; but  the  syrup 
and  colouring  particles  render  it  thick  and  opaque  : in  order 
therefore  to  restore  their  brightness,  they  are  filtrated,  which 
is  done  by  passing  them  through  sand,  paper,  cloth,  8c c. 

Ail  the  attention  of  the  distiller  cannot,  in  ordinary  opera- 
tions, always  prevent  some  aqueous  particles  from  rising  with 
the  spirits,  either  in  the  beginning  of  the  process,  in  those  com- 
positions where  they  ascend  first,  or  at  the  conclusion  when 
they  rise  last.  As  this  is  almost  unavoidable,  so  it  is  also  some- 
times necessary. 

In  distilling  flowers,  or  aromatic  plants,  fresh  gathered,  the 
phlegm  rises  first;  and  this  part  can  not  be  taken  out  of  the  re- 
ceiver, with- out  depriving  the  spirits  of  a considerable  part  of 
theirfrtgrancy. 

Li  distil  dug  spices,  their  odour  being  more  entangled,  will 
remain  in  the  alembic,  till  part  of  the  phlegm  is  drawn  ciE  But 


339 


SECRETS  IN  ARTS,  TRADES,  &c 


when,  instead  of  these  substances,  their  quintessences  are  used, 
the  necessity  ceases.  But  the  phlegm  commonly  causing  a 
cloudiness  in  the  liquor,  it  may  be  rendered  tolerably  fine,  by 
pouring  it  gently  off  by  inclination,  without  the  trouble  of  fil- 
tration ; the  aqueous  particles,  by  their  gravity,  falling  to  the 
bottom.  But  to  render  it  entirely  bright  and  fine,  put  some 
cotton  in  a funnel,  and  pour  the  liquor  through  it,  by  which 
means  the  aqueous  particles  will  be  retained  in  the  cotton  You 
must  however  remember  to  cover  the  top  of  the  funnel,  to  pre- 
vent the  most  volatile  parts  of  the  spirits  from  evaporating. 

Article  VIII. 

Of  the  Distillation  of  Malt  Sfiirits. 

The  wash,  or  liquor,  being  prepared  by  brewing  and  fermen- 
tation, as  directed  in  the  first  and  second  articles  of  this  treatise, 
the  still  is  to  be  charged  with  it,  and  worked  off  with  a pretty 
brisk  fire.  But  it  should  be  observed,  that  the  only  apparatus, 
used  in  this  process,  is  the  alembic  with  a refrigeratory 

The  wash  being  of  a mucilaginous  nature,  a particular  man- 
agement is  necessary  to  prevent  its  burning,  and  cause  it  to 
work  kindly  in  the  still : if  it  should  happen  to  be  burnt  in  the 
operation,  the  spirit  will  have  a most  disagreeable  flavor,  which 
can  hardly  ever  be  removed  ; and  therefore  to  prevent  this  ill 
effect,  the  wash  should  be  made  dilute  or  thin,  the  fire  well 
regulated,  and  the  whole  kept  in  a continual  agitation  during 
the  whole  process.  The  most  judicious  distillers  always  take 
care  to  have  their  wash  sufficiently  diluted,  and  constantly  find 
their  spirit  the  purer  for  it.  With  regard  to  the  fire,  it  may 
be  easily  kept  regular,  by  a constant  attendance,  and  observing 
never  to  stir  it  hastily,  or  throw  on  fresh  fuel ; and  the  stirring 
of  the  liquor  in  the  still  is  to  be  effected  by  means  of  a 
paddle,  or  bar  kept  in  the  liquor,  till  it  just  begins  to  boil,  which 
is  the  time  for  luting  on  the  head;  and  after  which  there  is  no 
great  danger,  but  from  the  improper  management  of  the  fire  : 
this  is  the  common  way  ; but  it  is  no  easy  matter  to  hit  the  ex- 
act time,  and  the  doing  it  either  too  late,  or  too  soon,  is  atten- 
ded with  great  inconvenience,  so  that  several  have  discovered 
other  methods  ; some  put  more  solid  bodies  into  the  still  with 
the  wash  ; others  place  some  proper  matter  at  the  bottom  and 
sides  of  the  stiii,  which  are  the  places  where  the  fire  acts  with 
the  greatest  force. 

The  use  of  the  paddle,  would,  however,  answer  better  than 
either  of  these  methods,  could  it  be  continued  during  the  whole 
time  the  still  is  working  ; and  this  may  be  done  by  the  follow- 
ing method  : let  a short  tube  of  iron  or  copper  be  soldered  in 


SECRETS  IN  ARTS,  TRADES,  &c. 


vXJ  1 

the  centre  of  the  still-head,  and  let  a cross  bar  be  placed  below 
in  the  same  head,  with  a hole  in  the  middle,  corresponding  to 
that  at  the  top  ; through  both  these,  let  an  iron  pipe  be  carried 
down  in  the  still,  and  let  an  iron  rod  be  passed  through  this 
with  wooden  sweeps  at  its  end ; this  rod  may  be  continually 
worked  by  a winch  at  the  still-head*  and  the  sweeps  will  conti- 
nually keep  the  bottom  and  sides  scraped  clean,  the  interstices 
of  the  tube  being  all  the  time  well  crammed  with  tow,  to  pre- 
vent any  evaporation  of  the  spirit. 

The  same  effect  may,  in  a great  measure,  be  produced  by  a 
less  laborious  method,  namely,  by  placing  a parcel  of  cylindri- 
cal sticks  lengthways,  so  as  to  cover  the  whole  bottom  of  the 
still,  or  by  throwing  in  a loose  parcel  of  faggot  sticks  at  a ven- 
ture ; for  the  action  of  the  fire  below  moving  the  liquor,  at  the 
same  time  gives  motion  to  the  sticks,  makim?  them  act  contin- 
ually like  a parcel  of  stirrers  upon  the  bottom  and  sides  of  the 
still,  which  might,  if  necessary,  be  furnished  with  buttons  and 
loops,  to  prevent  them  from  starting.  Some  also  use  a parcel 
of  fine  hay  laid  upon  the  loose  sticks,  and  secured  down  by  two 
cross  poles,  laid  from  side  to  side,  and  in  the  same  manner  fas- 
tened down  with  loops.  Care  is  to  be  taken  in  this  case,  not 
to  press  the. hay  against  the  sides  of  the  still ; for  that  would 
scorch  nearly  as  soon  as  the  wash  itself ; but  the  sticks  never 
will;  these  are  simple  but  effectual  contrivances,  and  in  point 
of  elegance,  they  may  be  improved  at  pleasure. 

There  is  another  inconvenience  attending  the  distilling  of 
malt  spirit,  which  is,  when  all  the  bottoms,  or  gross  mealy  fe- 
culence is  put  into  the  still  along  with  the  liquor,  the  thinner 
part  of  the  wash  going  off  in  form  of  spirit ; the  mealy  mass 
grows  by  degrees  more  and  more  stiff,  so  as  to  scorch  towards 
the  latter  part  of  the  operation.  The  best  method  of  remedy- 
ing this,  is  to  have  a pipe  with  a stop-cock,  leading  from  the 
upper  part  of  the  worm -tub  into  the  still  ; so  that  upon  a half, 
ora  quarter  turn,  it  may  continually  supply  a little  stream  of 
hot  water,  in  the  same  proportion  as  the  spirit  runs  off,  by 
which  means  the  danger  of  scorching  is  avoided,  and  the  ope- 
ration, at  the  same  time,  not  in  the  least  retarded. 

In  Holland , the  malt  distillers  work  all  their  wash  thick,  with 
the  whole  body  of  meal  among  it ; yet  they  are  so  careful  in 
keeping  their  stills  clean,  and  so  regular  and  nice  in  the  manage- 
ment of  their  fires,  that  though  they  use  no  artifice  at  all  on 
this  head,  only  to  charge  the  still  while  it  is  hot  and  moist,  they 
very  rarely  have  the  misfortune  to  scorch,  except  now  and  then 
in  the  depth  of  winter.  When  such  an  accident  has  once  hap- 
pened in  a still,  they  are  extremely  careful  to  scrape,  scrub,  and 
scour  off  the  remains  of  the  burnt  matter,  otherwise  they  find 
the  same  accident  very  liable  to  happen  again  in  the  same  place. 
But  beyond  all  the  other  methods  in  use  on  this  occasion, 


S3  2 


SECRETS  IN  ARTS,  TRADES,  kc. 

would  be  the  working  the  stills,  not  by  a dry  heat,  but  in  a 
Balneum  Maria: , which  might  possibjy  be  so  contrived  by  the 
bason  being  large,  and  capable  of  working  a great  many  stills 
at  once,  as  to  be  extremely  worth  the  proprietor's  while  in  all 
respects. 

Another  requisite  to  be  observed  is,  that  the  water  in  the 
worm  tub  be  kept  cool ; this  may  be  effected,  by  placing  in 
the  middle  of  the  tub  a wooden  pipe  or  gutter,  about  three 
inches  square  within,  reaching  from  the  top  almost  to  the  bot- 
tom ; by  this  contrivance  cold  water  may,  as  often  as  necessa- 
ry, be  conveyed  to  the  bottom  of  the  worm-tub,  and  the  hot 
water  at  the  top  forced  either  over  the  sides  of  the  tub,  or, 
which  is  better,  through  a leaden  pipe  of  moderate  size,  cal- 
led a waste-pipe,  soldered  into  the  top  of  the  tub,  and  extend- 
ed to  the  gutter  formed  to  carry  away  the  water. 

Article  IX. 

Of  the  Distillation  of  Molasses  - Sfi  irits  . 

The  spirit  distilled  from  molasses  or  treacle,  is  very  clean  or 
pure.  It  is  made  from  common  treacle  dissolved  in  water,  and 
fermented  in  the  same  manner  as  the  wash  for  the  common 
malt  spirit. 

But  if  some  particular  art  is  not  used  in  distilling  this  spirit, 
it  will  not  prove  so  vinous  as  malt  spirit,  but  more  flat  and 
less  pungent  and  acid,  though  otherwise  much  cleaner  tasted, 
as  its  essentia]  oil  is  of  a less  offensive  flavor.  Therefore,  if 
good  fresh  winc-^es,  abounding  in  tartar,  be  added  and  duly 
fermented  with  the  molasses,  the  spirit  will  acquire  a much 
greater  vinosity  and  briskness,  and  approach  much  nearer  to 
the  nature  of  foreign  spirits. 

Where  the  molasses-spirit  is  brought  to  the  common  proof 
strength,  if  it  be  found  not  to  have  a sufficient  vinosity,  it  will 
be  very  proper  to  add  some  good  dulcified  spirit  of  nitre ; and 
if  the  spirit  be  clean  worked,  it  may,  by  this  addition  only,  be 
made  to  pass  on  ordinary  judges  for  French  brandy. 

Great  quantities  of  this  spirit  are  used  in  adulterating  fo- 
reign brandy,  rum  and  arrac.  Much  of  it  is  also  used  alone, 
in  making  cherry-brandy,  and  other  drams  by  infusion ; in  all 
which,  many,  and  perhaps  with  justice,  prefer  it  to  foreign 
brandies. 

Molasses,  like  other  spirits,  is  entirely  colourless  when  first 
extracted  ; but  distillers  always  give  it,  as  nearly  as  possible, 
the  colour  of  foreign  spirits  5 the  methods  of  performing  which 
we  shall  explain  in  a subsequent  article. 


" SECRETS  IN  ARTS,  TRADES,  &c. 


OQ  O 

o>w 

Article  X. 

Of  the  Nature  of  Brandies , Method  of  Distilling 
them  in  France . 

The  general  method  of  distilling  brandies  in  France  need  not 
be  formally  described,  as  it  differs  in  nothing  from  that  com- 
monly practised  here  in  working  from  wash  or  molasses,  nor 
are  they  in  the  least  more  cleanly  or  exact  in  the  operation. 

They  only  observe  more  particularly  to  throw  a little  of  the 
natural  lee  into  the  still  along  with  the  wine,  as  finding  this 
gives  their  spirit  the  flavor  for  which  it  is  generally  admired 
abroad. 

But  though  brandy  is  extracted  from  wine,  experience  tells 
us,  that  there  is  a great  difference  in  grapes  from  which  the 
wine  is  made.  Every  soil,  every  climate,  every  kind  of  grapes 
varies  with  regard  to  the  quantity  and  quality  of  spirits  ex- 
tracted from  them.  There  are  some  grapes  which  are  only  fit 
for  eating,  others  for  drying,  as  those  of  Damascus , Corinth , 
Provence  and  Avignon  ; but  not  fit  to  make  wine. 

Some  wines  are  very  proper  for  distillation,  others  much  less 
so.  The  wines  of  Languedoc  and  Provence  afford  a great  deal 
of  brandy  by  distillation,  when  the  operation  is  made  in 
their  full  strength  : the  Orleans  wines,  and  those  of  B/ois  af- 
ford yet  more  ; but  the  best  are  those  of  the  territories  of  Cog~ 
mac  and  of  Andaye , which  are  however  in  the  number  of  those 
the  least  drank  m France . Whereas  those  of  Burgundy  and  of 
Champaign , though  of  a very  fine  flavor,  are  improper,  be- 
cause they  yield  but  very  little  in  distillation. 

It  must  also  be  farther  observed,  that  all  the  wines  for  distil- 
lation, as  those  of  Spain , the  Canaries , of  Alicant , of  Cyprus , 
of  i St.  Peres , of  Toquet , of  Grave , of  Hungary , and  others  of 
the  same  kind,  yield  very  little  brandy  by  distillation  ; and 
consequently  would  cost  the  distiller  considerable  more  than  he 
could  sell  it  for.  What  is  drawn  from  them  is  indeed  very  good, 
always  retaining  the  saccharine  quality  and  rich  flavor  of  the 
wine  from  whence  it  is  drawn  ; but  as  it  grows  old,  this  flavor 
often  grows  aromatic,  and  is  not  agreeable  to  all  palates. 

Hence  we  see,  that  brandies  always  differ,  according  as  they 
are  extracted  from  different  species  of  grapes.  Nor  would 
there  be  so  great  a similarity  as  there  is  between  the  different 
kinds  of  French  brandies,  were  the  strongest  wines  used  for 
this  purpose : But  this  is  rarely  the  case,  me  weakest  and  low- 
est flavored  wines  only  are  distilled  for  their  spirit,  or  such  as 
prove  absolutely  unfit  for  any  other  use. 

A large  quantity  of  brandies  is  distilled  in  France , during 
the  time  ot  the  vintage  5 for  all  those  poor  grapes  that  prove 

F f 2 


334 


SECRETS  IN  ARTS,  TRADES,  kc 


unfit  for  wine,  are  usually  first  gathered,  pressed,  their  juice 
fermented,  and  directly  distilled.  This  rids  their  hands  of  their 
poor  wines  at  once,  and  leaves  their  casks  empty  for  the  recep- 
tion of  better.  It  is  a general  rule  with  them  not  to  distil  any 
wine  that  will  fetch  any  price  as  wine ; for,  in  this  state,  the 
profits  upon  them  are  vastly  greater  than  when  reduced  to 
brandies.  This  large  stock  of  small  wines,  with  which  they 
are  almost  overrun  in  France , sufficiently  accounts  for  their 
making  such  vast  quantities  of  brandy  in  France , more  than 
other  countries,  which  lie  in  warmer  climates,  and  are  much 
better  adapted  to  the  production  of  grapes. 

Nor  is  this  the  only  fund  of  their  brandies ; for  all  the  wine 
that  turns  eager  is  also  condemned  to  the  still ; and,  in  short, 
all  that  they  can  neither  export  nor  consume  at  home,  which 
amounts  to  a large  quantity  ; since  much  of  the  wine  laid  in 
for  their  family  provision  is  so  poor  as  not  to  keep  during  the 
time  in  spending. 

Hence  many  of  our  American  spirits,  with  proper  manage- 
ment, are  convertable  into  brandies,  that  shall  hardly  be  dis- 
tinguished from  the  foreign  in  many  respects,  provided  this 
operation  be  neatly  performed.  And,  in  particular,  how  far  a 
cyder  spirit  and  a crab  spirit  may,  even  from  the  first  extrac- 
tion, be  made  to  resemble  the  fine  and  thin  brandies  of  France , 
we  would  recommend  to  those  distillers  whose  skill  and  curio- 
sity prompts  them  to  undertakings  condemned  by  those  who 
only  work  mechanically,  and  scorn  to  deviate  from  the  beaten 
track,  though  they  have  the  fairest  prospect  of  acquiring  pro- 
fit to  themselves,  and  a lasting  emolument  to  their  country. 

Article  XL 

Of  the  Distillation  of  Rum. 

Rum  differs  from  what  we  simply  call  sugar  spirit,  as  it  con- 
tains more  of  the  natural  flavor,  or  essential  oil,  of  the  sugar 
cane  ; a great  deal  of  raw  juice,  and  even  parts  of  the  cane 
itself  being  often  fermented  in  the  liquor,  or  solution,  of  which 
the  rum  is  prepared. 

Hence  we  see  from  whence  rum  derives  its  flavor;  namely, 
from  the  cane  itself.  Some,  indeed,  are  of  opinion,  that  the 
unctuous  or  oily  flavor  of  the  rum  proceeds  from  the  large 
quantity  of  fat  used  in  boiling  the  sugar.  This  fat,  indeed,  if 
coarse,  will  give  a stinking  flavor  to  the  spirit  in  our  distilla- 
tions of  the  sugar  liquor,  or  wash,  from  our  refining  sugar- 
houses  ; but  this  is  nothing  like  the  flavor  of  the  rum  ; which, 
as  we  have  already  observed,  is  the  effect  of  the  natural  flavor 
of  the  cane. 


SECRETS  IN  ARTS,  'I' HADES,  See. 


o35 

Great  quantities  of  rum  are  made  at  Jamaica , Barbadoes , 
Antigua  and  other  sugar  islands.  The  method  of  making  it 
is  this : 

When  a sufficient  stock  of  the  materials  is  got  together, 
they  add  water  to  them,  and  ferment  them  in  the  common 
method,  though  the  fermentation  is  always  carried  on  very 
slowly  at  first  ; because  at  the  beginning  of  the  season  for  mak- 
ing rum  in  the  islands,  they  want  yeast,  or  some  other  ferment 
to  make  it  work ; but  after  this,  they,  by  degrees,  procure  a 
sufficient  quantity  of  the  ferment,  which  rises  up  as  a head  to 
the  liquor  in  the  operation  ; and  thus  they  are  able  afterwards 
to  ferment  and  make  their  rum  with  a great  deal  of  expedi* 
tion,  and  in  very  large  quantities. 

When  the  wash  is  fully  fermented,  or  to  a due  degree  of  aci- 
dity, the  distillation  is  carried  on  in  the  common  way,  and  the 
spirit  is  made  up  proof ; though  sometimes  it  is  reduced  to  a 
much  greater  degree  of  strength,  nearly  approaching  to  that 
of  alcohol,  or  spirit  of  wine  ; and  it  is  then  called  double-dis- 
tilled mm. 

It  would  be  easy  to  rectify  the  spirit,  and  bring  it  to  a much 
greater  degree  of  purity  than  we  usually  find  it  to  be  of;  for  it 
brings  over  in  the  distillation  a large  quantity  of  the  oil ; and 
this  is  often  so  disagreeable,  that  the  rum  must  be  suffered  to 
lie  by  a long  time  to  mellow  before  it  can  be  used  : whereas,  if 
well  rectified,  its  flavor  would  be  much  less,  and  consequently 
much  more  agreeable  to  the  palate. 

The  best  state  to  keep  rum,  both  for  exportation  and  other 
uses,  is  doubtless  that  of  alcohol,  or  rectified  spirits.  In  this 
manner,  it  would  be  contained  in  half  the  bulk  it  usually  is, 
and  might  be  let  down  to  the  common  proof  strength  with  wa- 
ter when  necessary : for  the  common  use  of  making  punch,  it 
would  likewise  serve  much  better  in  the  state  of  alcohol ; as 
the  taste  would  be  cleaner,  and  the  strength  might  always  be 
regulated  to  a much  greater  degree  of  exactness  than  in  the  or- 
dinary way. 

If  the  business  of  rectifying  rum  was  more  nicely  managed, 
it  seems  a very  practicable  scheme  to  throw  out  so  much  of  the 
m\  as  to  reduce  it  to  the  fine  light  state  of  a clear  spirit,  but 
lightly  impregnated  with  the  oil ; in  this  state  it  would  nearly 
resemble  arrac,  as  is  easily  proved  by  mixing  a very  small  quan- 
tity of  it  with  a tasteless  spirit ; for  it  then  bears  a very  near 
resemblance  to  arrac  in  flavor. 

Article  XII. 

Of  Sugar  ^Spirit. 

We  mean  by  a sugar-spirit,  that  extracted  from  the  washings, 
icummings,  dross,  and  waste  of  a sugar-baker  s refining-house. 


336 


SECRETS  IN  ARTS,  TRADES,  &e. 


These  recrementitious,  or  drossy  parts  of  the  sugar,  are  to 
be  diluted  with  water,  fermented  in  the  same  manner  as  mo- 
lasses or  wash,  and  then  distilled  in  the  common  method.  And 
if  the  operation  be  carefully  performed,  and  the  spirit  well 
rectified,  it  may  be  mixed  with  foreign  brandies,  and  even  ar- 
rac  in  a large  proportion,  to  great  advantage  ; for  this  spirit 
will  be  found  superior  to  that  extracted  from  treacle,  and  con- 
sequently more  proper  for  these  uses. 

Article  XIII. 

Of  Baisin- Spirits. 

By  raisin-spirits,  we  understand  that  extracted  from  raisins, 
after  a proper  fermentation. 

In  order  to  extract  this  spirit,  the  raisins  must  be  infused  in 
a proper  quantity  of  water,  and  fermented  in  the  manner  de- 
scribed in  the  article  on  fermentation.  When  the  fermentation 
is  completed,  ther  whole  is  to  be  thrown  into  the  still,  and  the 
spirit  extracted  by  a strong  fire. 

The  reason  why  we  here  direct  a strong  fire,  is,  because  by 
that  means  a.  greater  quantity  of  the  essential  oil  will  come  o- 
ver  the  helm  with  the  spirit,  which  will  render  it  much  fitter 
for  the  distiller’s  purpose;  for  this  spirit  is  generally  used  to 
mix  with  common  malt  goods:  and  it  is  surprising  how  far  it 
will  go  in  this  respect,  ten  gallons  of  it  being  often  sufficient  to 
give  a determining  flavor,  and  agreeable  vinosity  to  a whole 
piece  of  malt  spirits. 

It  is  therefore  well  worth  the  distiller’s  while  to  endeavour 
at  improving  the  common  method  of  extracting  spirits  from  rai- 
sins; and  perhaps  the  following  hint  may  merit  attention: 

When  the  fermentation  is  completed,  and  the  still  charged 
with  fermented  liquor,  as  before  directed,  let  the  whole  be 
drawn  off  with  as  brisk  a fire  as  possible  ; but  instead  of  the 
cask  or  can,  generally  used  by  our  American  distillers  for  a re- 
ceiver, let  a large  glass,  called  by  chemists,  a separating-glass, 
be  placed  under  the  nose  of  the  worm,  and  a common  receiver 
applied  to  the  spout  of  the  separating  glass;  by  this  means  the 
essential  oil  will  sw  im  upon  the  top  of  the  spirit,  or  rather  low 
wine,  in  the  separating  glass,  and  may  be  easily  preserved  at  the 
end  of  the  operation. 

The  use  of  this  limpid  essential  oil  is  well  known  to  distil- 
lers; fur  in  this  resides  the  whole  flavor,  and  consequently 
may  be  used  to  the  greatest  advantage  in  giving  that  distinguish- 
ing taste,  and  true  vinosity,  to  the  common  malt  spirits. 

After  the  oil  is  separated  from  the  low  wine,  the  liquor  may 
be  rectified  in  Balneum  Maria: , into  a pure  and  almost  tasteless 
spirit ; and  therefore  well  adapted  to  make  the  finest  com- 


SECRETS  IN  ARTS,  TRADES,  &e.  S3T 

pound  cordials,  or  to  imitate,  or  mix  with  the  finest  French 
brandies,  arracs,  See. 

In  the  same  manner  a spirit  may  be  obtained  from  cyder. 
But  as  its  particular  flavor  is  not  so  desirable  as  that  obtained 
from  raisins,  it  should  be  distilled  in  a more  gentle  manner, 
and  carefully  rectified  in  the  manner  we  shall  shew  in  the  arti- 
cle on  rectification  ; by  which  means  a very  pure  and  almost 
insipid  spirit  will  be  obtained,  which  may  be  used  to  very  great 
advantage  in  imitating  the  best  brandies  of  France , or  in  mak- 
ing the  finest  compound  waters  or  cordials. 

Article  XXV. 

Of  Arracs . 

What  is  properly  meant  by  the  term  arracs,  are  spirits  ex- 
tracted from  the  fermented  juice  of  certain  trees  common  in 
the  East -Indies,  particularly  those  of  the  cocoa,  palm-tree. 
The  whole  process  of  making  arrac,  is  performed  in  the  follow- 
ing manner ; 

In  order  to  procure  the  vegetable  juice  for  this  operation, 
the  person  provides  himself  with  a sufficient  number  of  small 
earthen  pots,  with  bellies  and  necks,  resembling  our  common 
glass  bottles ; a number  of  these  he  fastens  to  his  girdle,  or  to  a 
belt  across  his  shoulders,  and  climbs  up  the  tall  trunk  of  the 
ssocoa-tree  ; having  reached  the  boughs  of  the  tree,  he  cuts  off 
with  a knife  certain  small  buds,  or  buttons,  applying  immedi- 
ately to  the  wound  one  of  his  bottles,  and  fastens  it  with  a 
string  to  the  bough.  In  this  manner  he  proceeds,  till  he  has 
fixed  his  whole  number  of  bottles,  which  serve  as  receivers  to 
the  juice  distilling  from  the  wounds.  This  operation  is  gene- 
rally performed  in  the  evening,  a greater  quantity  of  juice  flow- 
ing from  the  tree  in  the  night  than  in  the  day.  The  bottles  are 
next  morning  taken  off,  and  the  liquor  emptied  into  a proper 
vessel,  where  it  spontaneously  ferments.  As  soon  as  the  fer- 
mentation is  completed,  the  liquor  is  thrown  into  the  still,  and 
drawn  clown  to  a low  wine;  but  so  very  poor  and  dilute,  that 
they  are  obliged  to  rectify  it  in  another  still,  to  that  weak  kind 
of  proof  spirit,  we  generally  see  it;  for  though  it  appears  bub- 
ble-proof, it  rarely  contains  more  than  a sixth,  and  sometimes 
only  an  eighth  of  alcohol.  Ail  the  rest  being  no  more  than  an 
acidulated  water,  which  might  be  supplied  from  any  common 
spring.  Why  arrac  appears  bubble-proof,  when  in  reality  so 
far  below  what  we  mean  by  proof,  is  not  so  great  a mystery  as 
at  first  sight  it  appears  to  be  ; for  this  kind  of  proof  is  entirely 
owing  to  a certain  tenacity  of  the  parts  of  the  liquor,  or  to  the 
particular  property  of  the  oil  incorporated  in  the  spirit ; as  we 
shall  abundantly  shew  in  a subsequent  article. 


338  SECRETS  IN  ARTS,  TRADES,  &c. 

From  this  account  of  arrac,  it  should  seem  no  very  difficult 
matter  to  imitate  it  here.  And,  perhaps,  the  whole  difficulty 
lies  in  procuring  a pure  and  insipid  spirit  ; for  it  is  ridiculous 
to  attempt  it  with  our  common  malt  spirit.  With  regard  to 
the  flavor  of  the  arrac,  it  may  be  effectually  imitated  by  some 
essential  oils  easily  procurable. 

Hence  we  see  of  what  prodigious  advantage  a pure  and  insi- 
pid spirit  would  be  of  to  distillers,  and  consequently  the  great 
encouragement  there  is  to  attempt  the  discovery.  Perhaps  a i 
spirit  of  this  kind  may  be  extracted  from  sugar  properly  refined,  j 
The  hint  is  worth  prosecuting,  and  the  writer  of  this  essay, 
from  repeated  experiments,  is  abundantly  convinced  that  the 
thing  is  practicable.  Had  he  entirely  succeeded,  he  would 
readily  have  communicated  the  whole  for  the  benefit  of  his 
country  ; but  is  now  obliged  to  defer,  to  some  future  opportu- 
nity, the  result  of  his  enquiries.  In  the  mean  time,  he  would 
recommend  the  prosecution  of  this  hint  to  those  distillers  who 
endeavour  to  improve  their  art,  and  to  advance  it  nearer  to 
perfection. 

Since  arrac  is  a spirit  extracted  from  the  juice  of  the  cocoa- 
tree,  it  may  perhaps  be  worth  enquiring  how  nearly  it  may  be 
imitated  by  fermenting  and  distilling  the  juices  of  the  birch  and 
sycamore-trees.  We  should  by  this  means  obtain  an  American 
arrac ; and,  perhaps,  a spirit  equal  in  flavor  to  that  imported 
from  Batavia. 

When  the  cask,  in  which  the  arrac  is  imported,  happens  to 
be  decayed,  or  the  liquor  touches  any  nails,  or  other  iron,  it 
dissolves  part  of  it,  and  at  the  same  time  extracts  the  resinous 
parts  of  the  oak,  by  which  means  the  whole  liquor  in  the  cask 
acquires  an  inky  colour.  In  order  to  whiten  and  clarify  arrac, 
which  has  contracted  this  colour,  a large  quantity  of  new  or 
skimmed  milk  must  be  put  into  the  cask,  and  the  whole  beat 
together,  as  vinters  do  to  whiten  their  brown  wines ; by  this 
means  the  inkv  colour  will  be  absorbed  by  the  milk,  and  fall 
with  it  to  the  bottom,  so  that  the  greatest  part  of  the  arrac 
may  be  drawn  off  fine,  and  the  remainder  procured  in  the  same 
condition  by  being  filtrated  through  a conical  flannel  bag. 

Article  XV. 

Of  Rectification. 

There  are  several  methods  of  performing  this  operation  ; 
though  some,  and  indeed  those  in  general  practised  by  our  dis- 
tillers, hardly  deserve  the  name  ; because,  instead  of  rectifying, 
that  is,  freeing  the  spirit  from  its  essential  oil  and  phlegm,  they 
alter  the  natural  flavor  of  the  spirit  that  comes  over  in  the 
operation. 


SECRETS  IN  ARTS,  TRADES,  See. 


3S# 

The  principal  business  of  rectification  is  to  separate  the  spi- 
rit from  the  essential  oil  of  the  ingredient,  which  is  very  apt  to 
adhere  strongly  to  the  spirit.  And  in  order  to  this,  care  should 
be  taken  in  the  first  distillation ; that  is,  the  spirit,  especially 
that  from  malt,  should  be  drawn  by  a gentle  fire,  by  which 
means  great  part  of  the  essential  oil  will  be  kept  from  mixing 
with  the  spirit ; for  experience  has  abundantly  proved,  that  it 
is  much  easier  to  keep  asunder,  than  to  separate  them  when 
once  mixed. 

But  as  it  is  almost  impossible  to  draw  low  wines  without 
the  spirit  be  ng  in  some  measure  impregnated  with  the  essential 
oil,  n is  absolutely  necessary  to  be  acquainted  with  some  me* 
thods  of  separating  the  spirit  from  theoii,  and  also  of  freeing  it 
from  its  phlegm.  The  best  methods  of  doing  this  to  perfec- 
tion,  are  re-distillation  and  percolation. 

In  order  to  rectify  low  wines,  they  should  be  put  into  a tall 
body,  or  alembic,  and  gently  distilled  in  Balneum  Maria  ; by 
this  means  a large  proportion,  both  of  the  oil  and  phlegm  will 
remain  in  the  body.  But  if  the  spirit  should  be  found,  after 
this  operation,  to  contain  some  of  the  essential  oil,  it  must  be 
let  down  with  fair  water,  and  re-distilled  m the  same  gentle 
manner.  And  thus  it  may  be  brought  to  any  degree  of  purity ; 
especially  if  in  the  working,  the  spirit  be  suffered  to  fall  into  a 
proper  quantity  of  Balneum  Maria.  But  it  must  be  remem- 
bered, that  it  is  much  more  difficult  to  cleanse  alcohol,  or  proof- 
spirit  than  low  wines,  because  the  oil  is  more  intimately  mixed 
with  the  two  former  than  with  the  latter.  This  oil  may  how- 
ever be  separated  from  proof-spirit,  &c.  by  the  method  already 
proposed,  especially  if  it  be  previously  filtrated  through  paper, 
thick  flannel,  sand,  stone,  See. 

But  this  method,  though  it  effectually  answers  the  intention, 
is  generally  rejected  by  our  distillers,  because  of  the  slowness 
of  the  operation  ; and  others  substituted  in  its  stead,  though 
instead  of  freeing  the  spirit  from  the  oil,  they  only  abolish  the 
natural  flavor  of  the  spirit,  and  make  a more  intimate  mixture 
between  the  particles  of  the  spirit,  and  those  of  the  essential 
oil. 

It  is  impossible  to  enumerate  all  the  methods  practised  by 
distillers,  as  almost  every  one  pretends  to  have  a secret  nos- 
trum for  this  purpose.  The  principal  methods  in  use  for  rec- 
tifying malt  spirits,  are  however  reducible  to  three,  namely,  by 
fixed  alkaline  salts,  by  acid  spirits  mixed  with  alkaline  salts,  and 
by  saline  bodies,  and  flavoring  additions. 

"The  method  of  rectifying  by  alkaline  salts  is  thus  performed  : 
To  every  piece  of  proof-spirit,  add  fourteen  pounds  of  dry  salt 
of  tartar,  fixed  nitre,  or  calcined  tartar  ; iute  on  the  head,  and 
distil  by  a gentle  heat,  but  be  very  careful  to  ieave  out  the 
faults.  By  this  method  a large  proportion  of  the  foetid  oil  will 


SECRETS  IN  ARTS*  TRADES,  Sec. 


$4© 

be  left  in  the  still  : and  what  comes  over  with  the  spirit  will 
be  greatly  attenuated.  But  this  operation  is  generally  per- 
formed in  a very  different  manner  ; for  instead  of  distilling  the 
spirit  in  a gentle  and  equable  manner,  the  still  is  worked  in  its 
full  force  ; by  which  means  the  oil,  which  should  have  remain, 
ed  in  the  still,  is  driven  over,  and  intimately  mixed  with  the 
spirit  ; and  consequently,  the  whole  operation  frustrated,  and 
the  spirit  rendered  much  harder  to  cleanse  than  it  was  before. 

But  even  when  the  operation  is  performed  according  to  the 
rules  of  art,  it  is  far  from  being  perfect ; for  it  is  well  known* 
that  part  of  the  fixed  salts  become  volatile  in  the  operation, 
pass  over  the  helm,  and  intimately  mixes  with  the  essential  oil 
still  contained  in  the  spirits  ; by  this  means  the  oil  becomes 
more  perfectly  united  with  the  spirits,  and  consequently  much  . 
harder  to  be  separated  by  repeated  distillations.  Nor  is  this 
all  > for  the  still  being  worked  in  its  full  force,  the  bitter  oil  of 
the  malt,  formed  into  a kind  of  liquid  soap  in  the  still,  by 
means  of  the  alkaline  salt,  is  brought  over  the  helm  with  the 
faint.'.,  and  suffered  to  mix  with  the  spirit,  whereby  it  is  render- 
ed almost  as  nauseous  and  ill-tasted  as  before  the  operation. 
Besides,  if  this  operation  were  performed  in  its  utmost  perfec- 
tion, it  would  never  answer  the  intention  ; for  the  alkaline  salt 
destroys  the  vinosify  of  the  spirit,  and  consequently  deprives  it 
of  one  of  its  most  valuable  properties.  Our  distillers  are  well 
acquainted  with  this  defect  in  the  operation,  and  endeavour  to 
supply  it  by  an  addition  of  acids.  This  is  what  we  call  the 
second  method  by  alkalies  and  acids. 

The  operation  of  rectifying  by  the  method  of  fixed  alkalies 
and  acids,  is  the  same  as  that  above  described  ; the  spirit  is 
drawn  over  from  nxx!  alkalies  as  before;  but  in  order  to  mor- 
tify the  alkali  in  the  spirit,  and  restore  its  vinosity,  a proper 
quantity  of  some  acid  spirit  is  added.  Various  kinds  of  acids 
are  used  on  this  occasion  ; but  principally  those  of  the  mine- 
ral kind,  because  of  their  cheapness  ; as  bib  of  vitriol,  spirit 
of  nitie,  oil  of  sulphur,  and  the  like.  We  would,  however, 
caution  a young  distiller  from  being  too  busy  with  these  cor- 
rosive acids;  the  sulphureous  spirit  of  vitriol,  dulcified  spirit 
of  nitre,  or  Mr.  Boyle’s  acid  spirit  of  wine  well  rectified',  will 
much  better  answer  his  purpose. 

The  third  method  of  rectification  is  that  by  saline  bodies  and 
flavoring  ingredients.  There  is  no  difference  in  the  operation  be- 
tween this  and  the  two  foregoing  methods ; fixed  alkaline  sails, 
common  salt  depreciated  or  dried,  calcined  vitriol,  sandiver, 
alum,  & c.  is  put  into  the  still  with  the  low  wines,  and  the 
spirit  drawn  over  as  before.  When  the  quantity  is  drawn  off, 
the  flavoring  ingredients  are  added  to  give  the  spirit  the  flavor 
intended.  But  as  the  spirit  is  not  by  this  means  rendered  suffi- 
ciently pure,  the.  disagreeable  flavor  of  the  spirit  generally 


SECRETS  IN  ARTS,  TRADES,  &c.  341 

overpowers  that  of  the  ingredients,  whereby  the  whole  inten- 
tion is  either  destroyed,  or  a compound  flavor  produced,  very 
different  from  that  intended. 

Some  distillers,  instead  of  alkaline  salts,  use  quick  lime  in 
rectifying  their  malt  spirit ; this  ingredient  cleanses  and  de- 
phlegmates  the  spirit  considerably  ; but  like  that  rectified  from 
alkaline  salts,  it  requires  an  alkaline  disposition,  and  also  a ni~ 
dorous  flavor.  Acids,  therefore,  are  as  necessary  to  be  mixed 
with  those  spirits  rectified  with  quick  lime,  as  with  those  rec- 
tified with  an  alkaline  salt.  If  chalk,  calcined  and  well  puri- 
fied animal  bones,  8c c.  were  used  instead  of  quick  lime,  the 
spirit  would  have  a much  less  alkaline  or  nidoroua  flavor  ; and, 
consequently,  the  flavoring  ingredients  might  be  added  to  it 
with  more  success  than  can  be  expected  from  a spirit  rectified 
from  alkaline  salts. 

But,  perhaps,  if  neutral  salts  were  used  instead  of  the  alka- 
line ones,  the  spirit  might  be  rendered  pure,  without  contract- 
ing an  alkaline  flavor ; soluble  tartar  might  be  used  for  this  pur- 
pose, though  the  spirit  acquires  from  hence  a little  saponaceous 
flavor.  Dr.  Cox  has  mentioned  another  method  for  this  pur- 
pose, namely,  to  deprive  the  volatile  salts  of  their  oil,  by  ren- 
dering them  neutral  with  spirit  of  salt,  and  afterwards  sublim- 
ing them  with  salt  of  tartar : the  acid  may  be  varied,  if  the 
spirit  of  salt  should  not  be  found  so  well  adapted  to  the  pur- 
pose as  could  be  wished : but  fine  dry  sugar  seems  the  best  a- 
dapted  to  the  purpose  of  rectifying  these  spirits;  as  it  readily 
unites  with  the  essential  oil,  detains  and  fixes  it,  without  im- 
parting any  urinous,  alkaline,  or  other  nauseous  flavor  to  the 
spirits  rectified  upon  it. 

Thus  have  I considered  the  principal  methods  used  by  our 
distillers  in  rectifying  their  spirits  ; and  shall  conclude  this  arti- 
cle with  remarking,  that  there  is  no  other  way  of  rectifying  to 
perfection,  besides  what  we  first  laid  down,  namely,  by  gentle 
distillation.  But  then  it  must  be  remembered,  that  the  whole 
process  must  be  of  a piece  ; we  mean,  that  the  first  distillation 
from  the  wash  must  be  performed  in  a gentle  manner ; for 
otherwise  the  essential  oil  will  be  so  intimately  blended  with 
the  spirit,  as  not  to  be  easily  separated  by  re-distillation.  Ano- 
ther good  property  attending  this  method  is  its  universality ; 
all  kinds  of  spirits,  from  whatever  ingredients  extracted,  re- 
quire rectification  ; and  this  is  adapted  to  all  kinds. 

Ajelticle.  X\T. 

Of  the  Flavoring  of  Spirits. 

We  have  observed  in  the  preceding  article,  that  the  common 
method  o f rectifying  spirits  from  alkaline  salts,  destroys  their 

G g 


342  ( SECRETS  IN  ARTS,  TRADES,  &c. 

vinosity,  and  in  its  stead  introduces  an  urinous  or  lixivious  taste. 
But  as  it  is  absolutely  necessary  to  restore,  or  at  least  to  substi- 
tute in  its  room,  some  degree  of  vinosity,  several  methods  have 
been  proposed,  and  a multitude  of  experiments  performed,  in 
order  to  discover  this  great  desideratum  : but  none  has  suc- 
ceeded equal  to  the  spirit  of  nitre  ; and  according  y this  spirit, 
either  strong  or  dulcified,  has  been  used  by  most  distillers,  to 
give  an  agreeable  vinosity  to  their  spirits. 

Several  difficulties,  however,  occur  in  the  method  of  using 
it?  the  principal  of  which  is,  its  being  apt  to  quit  the  liquor  in 
a short  time,  and  consequently  depriving  the  liquor  of  that  vi- 
nosity  it  was  intended  to  give.  In  order  to  remove  this  diffi- 
culty, and  prevent  the  vinosity  from  quitting  the  goods,  the 
dulcified  spirit  of  nitre,  which  is  much  better  than  the  strong 
spirit,  shouid.be  prepared  by  a previous  digestion  continued  for 
some  time  with  alcohol ; the  longer  the  digestion  is  continued 
the  more  intimately  will  they  be  blended,  and  the  compound 
rendered  the  milder  and  softer. 

After  a proper  digestion,  the  dulcified  spirit  should  be  mix- 
ed with  the  brandy,  by  which  means  the  vinosity  will  be  inti- 
mately blended  with  the  goods,  and  disposed  not  to  fly  off  for 
a very  considerable  time. 

No  general  rule  can  be  given  for  the  quantity  of  this  mineral 
acid  requisite  to  be  employed,  because  different  proportions  of 
it  are  necessary  in  different  spirits.  It  should,  however,  be 
carefully  adverted  to,  that  though  a small  quantity  of  it  will 
undoubtedly  give  an  agreeable  vinosity  resembling  that  natu- 
rally found  in  the  fine  subtile  spirits  drawn  from  wines,  yet  an 
over  large  dose  of  it  will  not  only  cause  a disagreeable  flavor, 
but  also  render  the  whole  design  abortive,  by  discovering  the 
Imoosition.  Those,  therefore,  who  endeavour  to  cover  a foul 
taste  in  goods  by  large  doses  of  dulcified  spirit  of  nitre,  will 
find  themselves  deceived. 

But  the  best,  and  indeed  the  only  method  of  imitating  French 
brandies  to  perfection,  is  by  an  essential  oil  of  wine  ; this  being 
the  very  thing  that  gives  the  French  brandies  their  flavor.  It 
must,  however,  be  remembered,  that  in  order  to  use  even  this 
ingredient  to  advantage,  a pure,  tasteless  spirit  must  be  first 
procured;  for  it  is  ridiculous  to  expect  that  this  essential  oil 
should  be  able  to  give  the  agreeable  flavor  of  French  brandies, 
to  our  fulsome  malt  spirit,  already  loaded  with  its  own  naus- 
eous oil,  or  strongly  impregnate.^  with  a lixivious  taste  from 
the  alkaline  salts  used  in  rectification.  How  a pure  insipid 
spirit  may  be  obtained  has  been  already  considered  in  some  of 
the  preceding  articles;  it  only  therefore  remains  to  shew  the 
method  of  procuring  this  essential  oil  of  wine,  which  is  tnis. 

Take  some  cakes  of  dry  wine-iees,  such  as  are  used  by  our 
hatters,  dissolve  them  in  six  or  eight  times  their  weight  of  wa- 


SECRETS  IN  ARTS,  TRADES,  &c. 


43 


ter,  distil  the  liquor  with  a slow  fire,  and  separate  the  oil  by 
the  separating  glass  ; reserving  for  the  nicest  uses  that  only 
which  comes  over  first,  the  succeeding  oil  being  courser  and 
more  resinous. 

Having  procured  this  fine  oil  of  wine,  it  may  be  mixed  into 
a quintessence  with  pure  alcohol ; by  which  means  it  may  be 
preserved  a long  time  fully  possessed  of  all  its  flavor  and  vir- 
tues ; but  without  such  management,  it  will  soon  grow  resi- 
nous and  rancid. 

When  a fine  essential  oil  of  wine  is  thus  procured,  and  also 
a pure  and  insipid  spirit,  French  brandies  may  be  imitated  to 
perfection  with  regard  to  the  flavor.  It  must,  however,  be 
remembered,  and  carefully  adverted  to,  that  the  essential  oil 
be  drawn  from  the  same  sort  of  lees,  as  the  brandy  to  be  imi- 
tated was  procured  from  ; we  mean,  in  order  to  imitate  Cog- 
nlac  brandy,  it  will  be  necessary  to  distil  the  essential  oil  from 
Cogniac  lees  ; and  the  same  for  any  other  kind  of  brandy.  For 
as  different  brandies  have  different  flavors  ; and  as  these  flavors 
are  Owing  entirely  to  the  essential  oil  of  the  grape,  it  would 
be  preposterous  to  endeavour  to  imitate  the  flavor  of  Cogniac 
brandy,  with  an  essential  oil  procured  from  the  lees  of  Bour ~ 
deaux  wine. 

When  the  flavor  of  the  brandy  is  well  imitated  by  a proper 
dose  of  the  essential  oil,  and  the  whole  reduced  into  one  sim- 
ple and  homogeneous  fluid,  other  difficulties  are  still  behind  ; 
the  flavor,  though  the  essential  part,  is  not  however  the  only 
one;  the  colour,  the  proof  and  the  softness  must  be  also  re- 
garded, before  a spirit,  that  perfectly  resembles  brandy,  can  be 
procured.  With  regard  to  the  proof,  it  may  be  easily  bit,  by 
using  a spirit  rectified  above  proof ; which,  after  being  inti- 
mately mixed  with  the  essential  oil  of  wine,  may  be  let  down 
to  a proper  standard  by  fair  water.  And  the  softness  may  in  a 
great  measure  be  obtained  by  distilling  and  rectifying  the  spi- 
rit with  a gentle  fire ; and  what  is  wanting  of  this  criterion  in 
the  liquor,  when  first  made,  will  be  supplied  by  time  ; for  it 
must  be  remembered,  that  it  is  time  alone  that  gives  this  pro- 
perty to  French  brandies ; they  being  at  first  like  our  spirits, 
acrid,  foul  and  fiery.  But  with  regard  to  the  colour,  a parti- 
cular method  is  necessary  to  imitate  it  to  perfection  : and  how 
this  may  be  done,  shall  be  considered  in  the  next  article. 

Article  XVII. 

Of  the  Methods  of  Colouring  Spirits. 

The  art  of  colouring  spirits  owes  its  rise  to  observations  or. 
foreign  brandies.  A piece  of  French  brandy  that  has  acquired 
by  age  a great  degree  of  softness  and  ripeness,  is  observed  at 


344 


SECRETS  IN  ARTS,  TRADES,  &c. 

the  same  time*  to  have  acquired  a yellowish  brown  colour ; 
and  hence  our  distillers  have  endeavoured  to  imitate  this  colour 
in  such  spirits  as  are  intended  to  pass  for  French  brandy.  And 
in  order  to  this  a great  variety  of  experiments  has  been  made 
on  various  substances,  in  order  to  discover  a direct  and  sure 
method  of  imitating  this  colour  to  perfection.  But,  in  order 
to  do  this,  it  is  necessary  to  know  from  whence  the  French 
brandies  themselves  acquire  their  colour ; for  till  we  have  made 
this  discovery,  it  will  be  in  vain  to  attempt  an  imitation  ; be- 
cause, if  we  should  be  able  to  imitate  exactly  the  colour,  which 
is  indeed  no  difficult  task,  the  spirit  will  not  stand  the  test  of 
different  experiments,  unless  the  colour  in  both  be  produced 
from  the  same  ingredient. 

This  being  undeniably  the  case,  let  us  try  if  we  cannot  dis- 
cover this  mighty  secret ; the  ingredient  from  whence  the 
French  brandy  acquires  its  colour. 

We  have  already  observed,  that  this  colour  is  only  found  in 
such  brandies  as  have  acquired  a mellow  ripeness  by  age  ; it  is 
therefore  not  given  it  by  the  distiller,  but  has  gained  it  by  lay- 
ing long  in  the  cask.  Consequently,  the  ingredient  from  whence 
this  colour  is  extracted,  is  no  other  than  the  wood  of  the  cask, 
and  the  brandy  in  reality  is  become  a dilute  tincture  of  oak. 

The  common  experiment  used  to  prove  the  genuineness  of 
French  brandy  proves,  that  this  opinion  is  well  founded.  The 
experiment  is  this  ; they  pour  into  a glass  of  brandy  a few 
drops  of  a solution  of  calcined  vitriol  of  iron  in  a diluted  spi- 
rit of  sulphur,  or  any  other  mineral  acid,  and  the  whole  turns 
of  a blue  colour ; in  the  same  manner  as  we  make  ink  of  a 
tincture  of  galls  and  vitriol. 

Since,  therefore,  the  colour  of  French  brandies  is  acquired 
from  the  oak  of  the  cask,  it  is  no  difficulty  to  imitate  it  to  per- 
fection. A small  quantity  of  the  extract  of  oak,  or  the  shav- 
ings of  that  wood  properly  digested,  will  furnish  us  with  a 
tincture  capable  of  giving  the  spirit  any  degree  of  colour  re- 
quired. But  it  must  be  remembered,- that  as  the  tincture  is  ex- 
tracted from  the  cask  by  brandy,  that  is  alcohol  and  water,  it 
is  necessary  to  use  both  in  extracting  the  tincture ; for  each  of 
these  menstruums  dissolves  different  parts  of  the  wood.  Let, 
therefore,  a sufficient  quantity  of  oak  shavings  be  digested  in 
strong  spirit  of  wine ; and  also  at  the  same  time  other  oak  shav- 
ings  be  digested  in  water : and  when  the  liquors  have  acquired 
a strong  tincture  from  the  oak,  let  both  be  poured  off  from  the 
shavings  into  different  vessels,  and  both  placed  over  a gentle 
lire  till  reduced  to  the  consistence  of  treacle.  In  this  condition, 
let  the  two  extracts  be  intimately  mixed  together  ; which  may 
be  done  effectually  by  adding  a small  quantity  of  loaf  sugar, 
in  fine  powder,  and  well  rubbing  the  whole  together.  By  this 


SECRETS  m ARTS,  TRADES,  he. 


345 


means  a liquid  essential  extract  of  oak  will  be  procured,  and 
always  ready  to  be  used  as  occasion  shall  require. 

There  are  other  methods  in  use  for  colouring  brandies  ; but 
the  best,  besides  the  extract  of  oak  above-mentioned,  are  com- 
mon treacle  and  burnt  sugar. 

The  treacle  gives  the  spirits  a fine  colour,  nearly  resembling 
that  of  French  brandy  ; but  as  its  colour  is  but  dilute,  a large 
quantity  must  be  used  ; this  is  not  however  attended  with  any 
bad  consequences ; for  notwithstanding  the  spirit  is  really  weak- 
ened by  this  addition,  yet  the  bubble  proof,  the  general  crite- 
rion of  spirits,  is  greatly  mended  by  the  tenacity  imparted  to 
the  liquor  by  the  treacle.  The  spirit  also  acquires  from  this 
mixture  a sweetish  or  luscious  taste,  and  a fullness  in  the  mouth; 
both  which  properties  render  it  very  agreeable  to  the  palates  of 
the  common  people,  who  are,  in  fact,  the  principal  consum- 
ers of  these  spirits. 

A much  smaller  quantity  of  burnt  sugar  than  of  treacle  will 
be  sufficient  for  colouring  the  same  quantity  of  spirits  ; the 
taste  is  also  very  different ; for,  instead  of  the  sweetness  im- 
parted by  the  treacle,  the  spirit  acquires  from  the  burnt  sugar 
an  agreeable  bitterness,  and  by  that  means  recommends  itself 
to  nicer  palates,  which  are  offended  with  a luscious  spirit.  The 
burnt  sugar  is  prepared  by  dissolving  a proper  quantity  of  su- 
gar in  a little  water,  and  scorching  it  over  the  fire  tili  it  acquires 
a black  colour. 

Either  of  the  above  ingredients,  treacle  or  burnt  sugar,  will 
nearly  imitate  the  genuine  colour  of  old  French  brandy ; but 
neither  of  them  will  succeed,  when  put  to  the  test  of  the  vit- 
riolic solution. 

Thus  have  I traced  the  subject  of  distillation  from  its  origin  ; 
shewn  the  methods  commonly  made  use  of  by  distillers,  and 
pointed  out  various  improvements,  that  might  be  introduced 
into  this  art  with  great  advantage  ; and  shall  conclude  this 
chapter  with  recommending  the  several  hints  to  those  distil- 
lers who  are  desirous  of  improving  their  art,  and  proceeding 
on  a rational  foundation,  it  being  from  such  only  that  improve- 
ments are  to  be  expected  ; for  where  the  operations  are  con- 
stantly carried  on  in  the  same  beaten  track,  it  is  in  vain  to  ex- 
pect improvements,  unless  chance  should  be  kind  enough  to 
throw  that  in  their  way,  which  a rational  theory  would  have 
easily  led  them  to  discover. 


GgS 


SECRETS  IN  ARTS,  TRADES,  &c  . 


S4.6 

CHAP.  II. 

t he  Method  of  Distilling  Simple  Waters, 


Article  I. 

Of  Rose-Water. 

The  damask  rose  is  the  species  intended  to  be  used  in  this 
operation  ; it  is  of  a very  fragrant  smell,  and  flowers  in  June 
and  July.  The  water  may  be  made  either  by  the  hot  still,  the 
cold  still,  or  the  Balneum  Maria?.  If  the  hot  still  be  used,  the 
leaves  picked  from  the  stalks  must  be  put  into  the  still  with  a 
sufficient  quantity  of  water  to  prevent  an  empyreuma,  and  the 
water  drawn  off  by  a gentle  Are.  The  receiver  must  be  luted 
with  a bladder  to  the  nose  of  the  worm,  to  prevent  the  finest 
and  most  volatile  parts  from  evaporating,  which  they  would 
otherwise  do,  to  the  great  prejudice  of  the  water. 

If  the  cold  still  be  used,  the  rose  leaves,  either  with  the  dew 
on  them,  or  sprinkled  with  water,  must  be  laid  on  the  iron  plate 
and  covered  with  the  conical  head.  A gentle  fire  must  then 
be  made  under  the  plate,  and  a receiver  luted  with  a bladder 
to  the  nose  of  the  still.  The  water  will  gradually  distil  into 
the  receiver,  and  be  strongly  impregnated  with  the  odoriferous 
parts  of  the  roses. 

The  same  method  with  regard  to  the  Balneum  Maria  must 
be  used  in  the  distillation  of  roses  as  in  that  of  orange-flowers, 
and  therefore  need  not  be  repeated  here.  We  shall  therefore 
only  observe,  that  rose-water,  drawn  either  by  the  cold  still,  or 
the  Balneum  Maria , is  much  preferable  to  that  drawn  by  the 
hot  still. 

The  essence,  or  essential  oil  of  roses  is  looked  upon  as  one 
of  the  most  valuable  perfumes  in  the  world;  but  at  the  same 
time  the  most  difficult  to  be  procured  in  any  quantity.  A small 
quantity  of  it  is  made  in  Italy,  but  it  has  always  been  thought 
impossible  to  procure  it  here  ; and,  therefore,  a method  of  ac- 
quiring this  valuable  commodity  will  not,  I presume,  be  disa- 
greeable to  the  reader. 

Take  a quantity  of  damask  rose  leaves,  put  them  into  a pro- 
per vessel,  with  a sufficient  quantity  of  water,  adding  some 
mineral  acid,  as  spirit  of  salt,  vitriol,  &c.  In  this  menstruum 
let  the  roses  be  digested  for  fifteen  days  ; after  which  put  the 
whole  into  an  alembic,  and  draw  off  the  water  with  a pretty 


347. 


SECRETS  IN  ARTS,  TRADES,  &c. 

brisk  fire.  But,  instead  of  the  common  receiver,  a separating, 
glass  must  be  placed  under  the  nose  of  the  worm,  and  a receiv- 
er added  to  the  tube  of  the  separating-glass.  By  this  means 
all  the  oil  or  essence  will  float  on  the  surface  of  the  water  in 
the  separating-glass,  and  may  easily  be  separated  from  it,  when 
the  operation  is  finished. 

Article  II. 

Of  Cinnamon- Water . 

Cinnamon  is  a thin  fine  bark,  rolled  up  in  a sort  of  little 
pipes,  from  the  thickness  of  a goose-quill,  to  that  of  a man’s 
thumb,  and  sometimes  more,  and  about  two  or  three  feet  long. 
Its  colour  brownish,  with  a mixture  of  red.  It  is  of  an  ex- 
tremely aromatic  smell,  and  of  an  acrid  and  pungent,  but  very 
agreeable  taste.  It  is  the  interior  or  second  bark  of  a tree  that 
grows  plentifully  in  Ceylon . The  people  who  gather  it  take 
off  the  two  barks  together,  and  immediately  separating  the 
outer  one,  which  is  rough,  and  has  very  little  fragrancy,  they 
lay  the  other  to  dry  in  the  shade  in  an  airy  place,  where  it  rolls 
itself  up  into  the  form  wherein  we  see  it 

The  greatest  cheats  in  the  sale  of  cinnamon,  are  the  selling 
such  as  has  already  had  its  essential  oil  distilled  from  it,  and 
dried  again,  and  the  imposing  cassia  lignea  in  its  place.  The 
first  of  these  is  discovered  by  the  want  of  pungency  in  the  cin- 
namon ; the  second  by  this,  that  the  cassia,  when  held  a little 
time  in  the  mouth,  becomes  mucilaginous,  which  the  true  cin- 
namon never  does.  Cinnamon  is  a noble  drug,  endued  with 
many  capital  virtues  ; it  strengthens  the  viscera,  assists  concoc- 
tion, dispels  flatulencies,  and  is  a pleasant  cardiac. 

Recipe  for  one  gallon  of  simple  Cinnamon-Water . 

Take  a pound  of  the  best  cinnamon  grossly  powdered,  di- 
gest for  twenty-four  hours,  in  two  gallons  of  water;  put  the 
whole  into  an  alembic,  and  draw  over  one  gallon  with  a pretty 
brisk  fire. 

The  oil  of  cinnamon,  in  which  the  specific  virtue  of  the  drug 
consists,  is  very  ponderous,  and  therefore  will  not  come  over 
the  helm  unless  the  fire  be  pretty  brisk,  especially  with  a sim- 
ple water.  It  will  therefore  be  in  vain  to  attempt  distilling 
simple  cinnamon-water  by  the  Balneum  Maria \ 

Article  III. 

Of  Fennel-Water . 

Fennel-water  is  extracted  from  a seed  larger  and  more  beau- 
tiful than  that  produced  by  our  common  fennel;  it  is  calkc? 


348 


SECRETS  W ARTS,  TRADES,  be. 


Sweet  Fennel-seed , being  of  a fragrant  smell,  and  aromatic  sweet 
taste,  and  is  cultivated  in  France  and  Italy . It  is  to  be  chosen, 
new,  large,  and  fair  ; but  when  damp  or  dusty  to  be  rejected. 

Recipe  for  one  gallon  of  Fennel-IVater. 

Take  one  pound  of  sweet  fennel-seeds,  and  two  gallons  of 
water  ; put  them  into  an  alembic,  and  draw  off  one  gallon  with 
a gentle  fire. 

Article  IV. 

Of  Pefifier  mint -Water. 

Pepper-mint  is  a very  celebrated  stomachic,  and  on  that  ac- 
count greatly  used  at  present,  and  its  simple  water  often  cal- 
led for. 

Recipe  for  a gallon  of  Peppermint-Water. 

Take  of  the  leaves  of  dried  pepper-mint,  one  pound  and  a 
half;  water  two  gallons  and  a half;  put  all  into  an  alembic, 
and  dra  off  one  gallon,  with  a gentle  fire. 

Th  water  obtained  from  peppermint  by  distillation  in  Bal- 
neum Mar'uz,  is  more  fragrant  and  more  fully  impregnated 
with  the  virtues  of  the  plant  than  that  drawn  by  the  alembiG. 
The  same  may  be  said  with  regard  to  that  extracted  by  the 
cold  • ill ; when  the  cold  still  is  used  the  plant  must  be  green, 
and  if  possible  committed  to  the  still  with  the  morning  dew 
upon  it. 

Article  V. 

Of  Spearmint -Water. 

Spearmint  is  also  like  peppermint,  a great  stomachic,  and 
therefore  constantly  used. 

Recipe  for  one  gallon  of  Spearmint-Water . 

Take  of  the  leaves  of  dried  spearmint  one  pound  and  a half  ; 
water  two  gallons  and  a half;  draw  off  by  a gentle  fire  one 
gallon. 

This  water,  like  that  drawn  from  peppermint,  will  be  more 
fragrant  if  distilled  in  Balneum  Maria , or  the  cold  still ; but  if 
the  latter  be  used,  the  same  caution  must  be  observed  of  distil- 
ling the  plant  green. 


SECRETS  IN  ARTS,  TRADES,  &c.  349 

Article  VI. 

Of  Balm-Water . 

Bairn  is  a plant  well  known  in  our  gardens.  It  flowers  in  Ju- 
ly, and  is  of  a fine  cordial  flavor , but  so  weak,  that  it  is  soon 
dissipated  and  lost  ; nor  is  it  easy  to  dry  it  so  as  to  preserve  its 
natural  scent. 

Balm- water,  therefore,  should  be  drawn  when  the  plant  is 
green  ; and  in  order  to  procure  the  water  in  full  perfection,  it 
should  be  cohobated,  or  returned  several  times  upon  fresh  par- 
cels of  the  plant ; by  this  means  a water  may  be  procured  from 
balm  extremely  rich,  and  of  considerable  use  as  a cordial. 

If  the  Balneum  Maria;  be  used,  the  water  is  much  better  than 
that  drawn  by  an  alembic.  The  water  drawn  from  this  plant 
by  the  cold  still  will  also  be  very  fragrant,  and  highly  impreg- 
nated with  the  virtues  of  the  plant. 

Article  VII. 

Of  Pennyroyal-  Water . 

Pennyroyal,  a plant  very  common  in  America,  is  very  warm, 
and  its  parts  very  subtile  and  penetrating  : it  is  one  of  the  first 
plants  in  esteem  in  the  present  practice,  as  well  as  in  former 
ages,  as  an  attenuant  and  uterine.  It  is  good  in  flatulencies 
and  suppressions  of  urine,  and  by  many  is  greatly  recommen- 
ded in  dropsies,  jaundices,  and  other  chronic  distempers.  It 
communicates  its  virtues  to  water  in  infusion,  and  its  simple 
water  has,  perhaps,  more  virtue  than  any  other  kept  in  the 
shops.  But  as  it  is  requisite  in  order  to  obtain  a water  fully 
impregnated  with  the  virtues  of  balm,  to  cohobate  it  on  fresh 
parcels  of  the  plant ; the  water  drawn  from  green  pennyroyal, 
on  the  contrary,  generally  contains  so  large  a portion  of  the 
essential  oil,  that  it  is  necessary  to  separate  what  floats  on  the 
surface  of  the  water,  by  the  separating-glass. 

Recipe  for  one  gallon  of  Penny  royal- Water, 

Take  of  the  dried  leaves  of  pennyroyal  one  pound  and  a half, 
of  water  three  gallons;  draw  off  one  gallon  with  a gentle  fire. 

The  water  drawn  from  green  pennyroyal  by  the  cold  still, 
is  very  fragrant,  and  fully  impregnated  with  the  virtues  of  the 
plant. 


"50 


SECRETS  IN  ARTS,  TRADES,  &c, 


CHAP.  III. 

Of  making  Compound  Waters  and  Cordials. 


Article  I. 


Of  sir o?i g Cinnamon-Water. 

WE  have  already  [Chap.  II.  Art.  II.}  described  this  drug, 
and  given  some  directions  for  chusing  the  best  sort,  to  which 
the  reader  is  referred. 

Recipe  for  sixteen  gallons  of  strong  Cinnamon-Water . 

Take  eight  pounds  of  fine  cinnamon  bruised,  seventeen  gal- 
lons of  clean  rectified  spirit,  and  two  gallons  of  water.  Put 
them  into  your  still,  and  digest  them  twenty  Tour  hours  with 
a gentle  heat ; after  which  draw  off  sixteen  gallons  by  a pretty 
strong  heat. 

I have  ordered  a much  larger  quantity  of  cinnamon  than  is 
common  among  distillers ; because,  when  made  in  the  manner 
above  directed,  it  is  justly  looked  upon  as  one  of  the  noblest 
cordial  waters  of  the  shops;  but  when  made  in  the  common 
way,  of  two  pounds  to  twenty  gallons  of  spirit,  as  some  have 
ordered,  is  only  an  imposition  on  the  buyer.  Some  also,  to 
render  the  goods  cheaper,  use  equal  quantities  of  cinnamon 
and  cassia  lignea ; but  by  this  means  the  cordial  is  rendered 
much  worse ; and,  therefore,  if  you  desire  a fine  cinnamon- 
water,  the  above  recipe  will  answer  you  intention ; but  if  a 
cheaper  sort  be  desired,  you  may  lessen  the  quantity  of  cinna- 
mon, and  add  cassia  lignea  in  its  stead.  If  you  would  dulcify 
your  cinnamon-water,  take  double-refined  sugar,  what  quan- 
tity you  please  ; the  general  proportion  is  about  two  pounds 
to  a gallon,  and  dissolve  it  in  the  spirit  after  you  have  made  it 
up  proof  with  clean  water.  One  general  caution  is  here  ne- 
cessary to  be  added,  namely,  that  near  the  end  of  the  opera- 
tion you  carefully  watch  the  spirit  as  it  runs  into  the  receiver, 
in  order  to  prevent  the  faints  mixing  with  the  goods.  This 
you  may  discover  by  often  catching  some  of  it,  as  it  runs  from 
the  worm,  in  a glass,  and  observing  whether  it  is  fine  and  trans- 
parent ; for  as  soon  as  ever  the  faints  begin  to  rise,  the  spirit 
will  have  an  azure,  or  bluish  cast.  As  soon,  therefore,  as  you 
perceive  this  alteration,  change  the  receiver  immediately ; for 


SECRETS  IN  ARTS,  TRADES,  &c, 


3Si 


if  you  suffer  the  faints  to  mix  with  your  other  goods,  the  value 
of  the  whole  will  be  greatly  lessened.  With  regard  to  the 
faints,  they  are  to  be  kept  by  themselves,  and  poured  into  the 
still  when  a fresh  parcel  of  the  same  goods  is  to  be  made. 

It  is  also  necessary  to  observe  here,  once  for  all,  that  the  dis- 
tillers call  all  goods  made  up  proof,  double  goods  ; and  those 
which  are  below  proof,  single.  This  observation  will  be  alone 
sufficient  to  instruct  she  young  distiller  how  he  may  at  any  time 
turn  his  proof  or  double  goods  into  single. 

Article  II. 

Of  Clove- Water. 

Cloves,  from  whence  this  water  takes  its  name,  are  the  fruit 
of  a tree  growing  in  the  Molucca  islands.  The  figure  of  this 
fruit  is  oblong,  and  not  very  thick,  resembling,  in  some  mea- 
sure, a nail.  The  surface  of  it  is  rough,  and  the  colour  a dus- 
ky brown,  with  an  admixture  of  redish.  The  whole  fruit  is 
of  an  extremely  fragrant  smell,  and  of  an  acid,  pungent,  and 
very  aromatic  taste.  Cloves  are  to  be  chosen  the  largest,  fair- 
est, darkest  coloured,  the  heaviest,  and  most  unctuous  on  the 
surface,  when  pressed  between  the  fingers.  Cloves  are  carmi- 
native, and  good  against  all  distempers  of  the  head  arising  from 
cold  causes.  They  strengthen  the  sight,  and  are  good  against 
faintings,  palpitations  of  the  heart,  and  crudities  in  the  stomach. 

Recipe  for  fifteen  gallons  of  Clove-Water. 

Take  of  cloves  bruised  four  pounds,  pimento  or  all  spice, 
clean  proof  of  spirit  sixteen  gallons  ; let  it  digest  twelve  hours 
in  a gentle  heat,  and  then  draw  off  fifteen  gallons  with  a pret- 
ty brisk  fire.  Or, 

Take  Winter's  bark  four  pounds,  pimento  six  ounces,  cloves 
one  pound  and  a quarter,  clean  proof  of  spirits  sixteen  gal- 
lons : digest,  and  draw  off  as  before. 

The  Winter’s  bark,  added  in  the  second  recipe,  is  the  bark 
of  a large  tree,  growing  in  several  parts  of  America , and  has 
its  name  from  its  discoverer,  Captain  Winter . 

The  outer  rind  of  it  is  of  an  uneven  surface,  and  of  a loose 
texture,  very  brittle,  and  easily  powdered.  The  inner  part,  in 
which  the  principal  virtue  resides,  is  hard,  and  of  a dusky  red- 
ish brown  colour.  It  is  of  an  extremely  fragrant  and  aromatic 
smell,  and  of  a sharp,  pungent,  and  spicy  taste,  much  hotter 
than  cinnamon  in  the  mouth,  and  leaving  in  it  a more  lasting 
flavor.  It  is  to  be  chosen  in  pieces  not  too  large,  having  the 
inner  or  brown  part  firm  and  sound,  and  of  a very  pungent 
taste.  It  is  apt  to  be  worm-eaten  ; but  in  that  case  it  should 


35*  SECRETS  IN  ARTS,  TRADES,  See. 

fee  wholly  rejected,  as  having  lost  the  most  essential  part  of  its 
virtue. 

If  you  desire  to  have  your  clove-water  red,  it  may  be  co- 
loured either  by  a strong  tincture  of  cochineal,  aikanet-root,  or 
corn-poppy  flowers.  The  first  gives  the  most  elegant  colour, 
but  it  it  not  often  used  on  account  of  its  dearness. 

You  may  dulcify  it  to  your  palate,  by  dissolving  in  it  dou- 
ble-refined sugar.  Some  for  cheapness  use  a coarser  kind  of 
sugar:  but  this  renders  the  goods  foul  and  unsightly.  Some  * 
also,  to  save  expences,  make  what  they  call  clove- water,  with 
cloves  and  caraway* seeds ; the  proportion  they  generally  use 
is  half  an  ounce  of  cloves  and  two  drachms  of  caraway-seeds 
to  a gallon  ot  spirit. 

Article  III. 

Of  Citron- Water, 

The  citron  is  an  agreeable  fruit  resembling  a lemon  in  colour, 
smell,  and  taste.  The  inside  is  white,  fleshy  and  thick,  con- 
taining but  a small  quantity  of  pulp,  in  proportion  to  the  big- 
ness of  the  fruit. 

Recipe  for  making  ten  gallons  of  Citron-Water * 

Take  of  dry  yellow  rinds  of  citron  four  pounds,  clean  proof 
spirit  ten  gallons  and  a half,  water  one  gallon  ; digest  the  whole 
twenty-four  hours  with  a gentle  heat ; draw  off  ten  gallons 
with  a gentle  fire ; or,  which  is  much  better,  in  Balneum  Ma- 
ria?, and  dulcify  it  with  fine  sugar  to  your  palate.  Or, 

Take  of  dry  yellow  rinds  of  citrons  three  pounds,  of  orange 
peel  two  pounds,  nutmegs  bruised  three  quarters  of  a pound  ; 
digest,  draw  off,  and  dulcify  as  before. 

This  is  one  of  the  most  pleasant  cordials  we  have  ; and  the 
addition  of  the  nutmegs,  in  the  second  receipt,  increases  its 
virtue  as  a cephalic  and  stomachic. 

Article  IV. 

Of  A?iiseed - Water. 

Aniseed  is  a small  seed  of  an  oblong  shape,  each  way  ending 
£n*an  obtuse  point ; its  surface  is  very  deeply  striated,  and  it  is 
of  a soft  and  lax  substance,  very  light,  and  easily  broken.  Its 
colour  is  a kind  of  pale  olive,  or  greenish  grey  ; it  has  a very 
strong  and  aromatic  smell,  and  a sweetish  but  acrid  taste,  but 
in  the  whole  not  disagreeable.  Aniseed  should  be  chosen  large 


SECRETS  IN  ARTS,  TRADES,  See.  35$ 

fair,  new,  and  clean,  of  a good  smell,  and  acrid  taste.  The 
plant  that  produces  it  is  cultivated  in  many  parts  of  France  ; 
but  the  finest  seed  comes  from  the  island  of  Malta , where  it 
is  raised  for  sale,  and  whence  a great  part  of  Europe  is  sup- 
plied. 

Recipe  for  ten  gallons  of  Aniseed - Water. 

Take  of  aniseed  bruised  two  pounds,  proof  spirit  twelve 
gallons  and  a half,  water  one  gallon ; draw  off  ten  gallons  with 
a moderate  fire.  Or, 

Take  of  the  seeds  of  anise  and  angelica,  each  two  pounds, 
proof  spirit  twelve  gallons  and  a half;  draw  off  as  before. 

Aniseed- water  should  never  be  reduced  below  proof,  because 
of  the  large  quantity  of  oil  with  which  the  spirit  is  impregnat- 
ed, and  which  will  render  the  goods  milky  and  foul,  when 
brought  down  below  proof;  but  if  there  be  a necessity  for  do- 
ing this,  the  goods  must  be  filtrated  either  through  paper  or 
the  filtrating  bag,  which  will  restore  their  transparency. 

Aniseed-water  is  a good  carminative,  and  therefore  in  great 
request  among  the  common  people  against  the  cholic. 

Article  V. 

Gf  Mint-Water . 

The  mint  intended  in  this  recipe  is  the  common  spearmint, 
an  account  of  which  has  already  been  given,  [Chap.  II.  Art.  V.] 

Recipe  for  ten  gallons  of  Mint-Water. 

Take  of  dry  spearmint  leaves  fourteen  pounds,  proof  spirit 
ten  gallons  and  a half,  water  two  gallons ; drawoff  ten  gallons 
by  a gentle  heat.  You  may  dulcify  it  with  sugar  if  required. 

Mint- water  is  greatly  recommended  by  the  learned  Boerbaave 
and  Hoffman  against  vomiting,  nauseas,  and  the  cholic. 

Article  VI. 

Of  Pefijiermit - Water. 

The  peppermint  has  been  already  described,  [Chap.  II.  Art. 
IV.]  to  which  the  reader  is  referred. 

Recipe  for  ten  gallons  of  Peppermint-Water. 

Take  of  dry  peppermint  leaves  fourteen  pounds,  proof  spi- 
rit ten  gallons  and  a half,  water  one  gallon ; draw  off  ten  gal- 
lons by  a gentle  fire.  You  may  either  dulcify  it  or  not. 

Peppermint-water  is  a noble  stomachic,  good  against  vomit- 
ing nauseas,  cholic,  and  other  griping  pains  in  the  bowels ; in 
‘ Hh„. 


554  SECRETS  IN  ARTS,  TRADES,  &c. 

all  which  intentions  it  greatly  exceeds  the  common  spearmint 
water. 

Article  VII. 

Of  Usquebaugh. 

Usquebaugh,  is  a very  celebrated  cordial,  the  basis  of  which 
is  saffron.  There  are  different  ways  of  making  this  famous 
Compound  ; but  the  following  are  equal  to  any  I have  seen. 

Recipe  for  ten  gallons  of  common  Usquebaugh. 

Take  of  nutmegs,  cloves,  and  cinnamon,  of  each  two  ounces  ; 
©f  the  seeds  of  anise,  caraway  and  coriander,  of  each  four  oun- 
ces ; liquorice-root  sliced,  half  a pound ; bruise  the  seeds  and 
apices  and  put  them  together  with  the  liquorice  into  the  still 
with  eleven  gallons  of  proof  spirits,  and  two  gallons  of  water ; 
distil  with  a pretty  brisk  fire  till  the  faints  begin  to  rise.  But 
as  soon  as  your  still  begins  to  work,  fasten  to  the  nose  of  the 
worm  two  ounces  of  English  saffron  tied  up  in  a cloth,  that 
the  liquor  may  run  through  it,  and  extract  all  its  tincture ; and 
in  order  to  this  you  should  often  press  the  saffron  with  your 
fingers.  When  the  operation  is  finished,  dulcify  your  goods 
with  fine  sugar. 

Recipe  for  making  ten  gallons  of  Royal  Usquebaugh. 

Take  of  cinnamon,  ginger,  and  coriander-seed,  of  each  three 
ounces ; nutmegs,  lour  ounces  and  a half ; mace,  cloves,  and 
eubebs,  of  each  one  ounce  and  a half.  Bruise  these  ingredi* 
ents,  and  put  them  into  an  alembic  with  eleven  gallons  of  proof 
spirit,  and  two  gallons  of  water;  and  distil  till  the  faints  begin 
to  rise ; fastening  four  ounces  and  a half  of  English  saffron  tied 
in  a cloth  to  the  end  of  the  worm,  as  directed  in  the  preceding 
recipe.  Take  raisins,  stoned,  four  pounds  and  a half ; dates, 
three  pounds;  liquorice-root  sliced,  two  pounds;  digest  these 
twelve  hours  in  two  gallons  of  water  ; strain  out  the  clear  li- 
quor, add  it  to  that  obtained  by  distillation,  and  dulcify  the 
whole  with  fine  sugar. 

Recipe  for  ten  gallons  of  Usquebaugh  by  digestion. 

Take  of  raisins  stoned,  five  pounds ; figs  sliced,  one  pound 
and  a half ; cinnamon,  half  a pound  ; nutmegs,  three  ounces; 
cloves  and  mace,  of  each  one  ounce  and  a half ; liquorice  two 
pounds ; saffron  four  ounces ; bruise  the  spices,  slice  the  liquor 
ice,  and  pull  the  saffron  in  pieces ; digest  these  ingredients 


35$ 


SECRETS  IN  ARTS,  TRADES,  &c. 

eight  days  in  ten  gallons  of  proof  spirit,  in  a vessel  close  stop- 
ped ; then  filter  the  liquor,  and  add  to  it  two  gallons  of  Canary 
wine,  and  half  an  ounce  ot  the  tincture  of  ambergris. 

Recipe  for  making  ten  gallons  of  French  Usquebaugh* 

Take  of  saffron  three  ounces,  of  the  essential  oil  or  essence 
of  Florentine  citron,  bergamot,  Portugal  orange,  and  lemon,  of 
each  a hundred  drops ; angelica-seed,  vanellos,  and  mace,  of 
each  one  ounce  and  a half ; cloves  and  coriander-seed,  of  each 
three  quarters  of  an  ounce;  bruise  the  seeds  and  spices,  and 
put  all  into  an  alembic  with  eleven  gallons  of  proof  spirit,  and 
two  gallons  of  water ; and  draw  off  with  a gentle  fire  till  the 
faints  begin  to  rise,  fastening  to  the  nose  of  the  worm  four 
ounces  of  saffron  in  a cloth.  When  the  operation  is  finished 
dulcify  the  goods  with  fine  sugar. 

These  waters  are  excellent  cephalic  cordials,  and  alexiphar- 
mics ; and  are  excelled  by  nothing  in  suddenly  reviving  the 
spirits  when  depressed  by  sickness,  8c c. 

Article  VIII. 

Of  Ratafia . 

Ratafia  is  a liquor  in  great  esteem,  and  most  persons  are  ac- 
quainted with  it;  though  the  true  method  of  making  it  is  known 
only  to  a few.  There  are  various  kinds  of  ratafia  made  from 
different  fruits.  I shall  give  recipes  for  making  those  which  are 
at  present  in  most  esteem  ; which  may  serve  as  instances  for 
making  these  goods  from  any  other  kinds  of  fruit. 

Of  red  R a tafia . 

There  are  three  sorts  of  ratafia  drawn  from  red  fruits,  dis- 
tinguished by  the  epithets,  fine,  dry,  and  common. 

The  fruits  most  proper  to  make  the  red  ratafia  are  the  black 
heart  cherry,  the  common  red  cherry,  the  black  cherry,  the 
merry  or  honey  cherry,  the  strawberry,  the  raspberry,  the  red 
gooseberry,  and  the  mulberry. 

These  fruits  should  be  gathered  in  the  height  of  their  respec- 
tive seasons,  and  the  largest  and  most  beautiful  of  them  chosen 
for  that  purpose. 

Thus  with  regard  to  the  heart  cherry,  it  should  be  large, 
fleshy,  and  thorough  but  not  over  ripe  ; for  then  a part  of  its 
juice  will  be  evaporated  on  the  tree;  care  must  be  also  taken, 
that  its  colour  be  not  decayed  ; but  clear  and  almost  transpa- 
rent? and  well  tasted 


356 


SECRETS  m ARTS,  TRADES,  kc  • 


The  black  cherry,  or  as  it  is  often  called,  the  black  arvon, 
must  be  extremely  ripe,  because  it  is  used  to  colour  the  ratafia 
when  that  of  the  other  fails.  The  criterion  of  judging  when 
it  is  thoroughly  ripe,  is  its  blackness;  for,  when  in  perfection, 
it  is  perfectly  black.  It  should  also  be  remembered  that  this 
fruit  is  better  and  more  profitable  in  proportion  to  its  sweet- 
ness ; as  th£  flavor  of  the  ratafia  will  be  rendered  more  agree- 
able, and  a less  quantity  of  sugar  necessary. 

As  the  gooseberry  is  an  acid  fruit,  it  must  be  chosen  as  ripe 
as  possible.  The  fruit  large,  and  the  skin  and  husk  so  trans- 
parent as  to  see  the  seeds  through  it.  The  gooseberry  should 
be  used  immediately  after  its  being  gathered,  for  it  is  very  lia- 
ble to  ferment,  which  will  inevitably  spoil  the  ratafia.  Goose- 
berries are  chiefly  used  to  render  the  ratafia  dry  or  sharp,  and 
consequently  less  soft,  and  therefore  their  quantity  should  al- 
ways be  proportioned  to  that  intention. 

The  merry  cherry  to  be  good  should  be  small,  black,  the 
skin  transparent,  full  of  liquor,  of  a deep  black  purple  colour. 
The  greatest  care  should  be  taken,  that  it  be  fresh  gathered, 
and  not  rotten.  It  corrects  the  acid  juices  of  the  other  fruits 
by  its  sweetness,  softens  the  composition,  and  is  of  great  ser- 
vice in  colouring  the  ratafia. 

The  mulberry  is  of  the  greatest  service  in  colouring  the  ra- 
tafia. It  should  be  chosen  large,  and  fully  ripe,  at  which  time 
it  is  of  a black  purple  colour.  Its  taste  also  greatly  contributes 
to  render  the  ratafia  of  a pleasant  and  agreeable  flavor. 

The  strawberry  greatly  contributes  to  increase  the  rich  flavor* 
of  the  ratafia  ; but  it  must  be  chosen  ripe  and  large,  fresh  ga- 
thered and  not  bruised.  Another  caution  necessary  to  this 
fruit  is,  that  they  are  gathered  in  dry  warm  weather ; for  if  ga- 
thered in  rainy  weather,  they  will  want  that  fine  taste,  for 
which  they  are  so  greatly  valued. 

The  raspberry  is  also  added  to  augment  the  richness  of  the 
liquor,  to  which  its  elegant  perfumy  taste  greatly  contributes; 
by  its  agreeable  acidity  it  renders  the  flavor  more  brisk  and  a- 
greeable.  It  must  be  fresh  gathered,  full  ripe,  and  free  from 
spots  and  mouldiness,  which  the  fruit  is  particularly  subject  to. 

Having  thus  concisely  enumerated  the  qualities  requisite  in 
the  several  fruits  to  render  the  ratafia  of  a rich  and  elegant  fla- 
vor, we  shall  proceed  to  give  the  best  methods  for  making  ra- 
tafia from  them. 

Recipe  for  making  red  Ratafa  fine  and  soft . 

Take  of  the  black  heart  cherries,  twenty-four  pounds,  black 
cherries,  four  pounds,  raspberries  and  strawberries,  of  each 
three  pounds,  pick  these  fruits  from  their  stalks  and  bruise 
them,  in  which  condition  let  them  continue  twelve  hours,  press 


SECRETS  IN  ARTS,  TRADES,  he. 


3*7 


out  the  juice,  and  to  every  pint  of  it  add  a quarter  of  a pound 
of  sugar.  When  the  sugar  is  dissolved,  run  the  whole  through 
the  filtrating  bag,  and  add  to  it  three  quarts  of  clean  proof 
spirits.  Then  take  of  cinnamon  four  ounces,  of  mace  an  ounce, 
and  of  cloves  two  drachms.  Bruise  these  spices,  put  them  in- 
to an  alembic,  with  a gallon  of  clean  proof  spirits  and  two 
quarts  of  water,  and  draw  off  a gallon  with  a brisk  fire.  Add 
as  much  of  this  spicy  spirit  to  your  ratafia  as  will  render  it  a- 
greeable  to  your  palate, about  one  fourth  is  the  usual  proportion. 

Ratafia  made  according  to  the  above  recipe  will  be  of  a very 
rich  flavor,  and  elegant  colour.  It  may  be  rendered  more  or 
less  of  a spicy  flavor,  by  adding  or  diminishing  the  quantity  of 
spirit  distilled  from  the  spices. 

Some  in  making  ratafia,  suffer  the  expressed  juices  of  their 
fruits  to  ferment  several  days  ; by  this  means  the  vinosity  of 
the  ratafia  is  increased  ; but,  at  the  same  time,  the  elegant  fla- 
vor of  the  fruits  greatly  diminished.  Wherefore,  if  the  ratafia 
be  desired  stronger  or  more  vinous,  it  may  be  done  by  adding 
more  spirits  to  the  expressed  juice,  by  which  means  the  flavor 
of  the  fruits  may  be  preserved,  as  well  as  the  ratafia  rendered 
stronger. 

It  is  also  a method  with  some  to  tie  the  spices  in  a linen  rag, 
and  suspend  them  in  the  ratafia.  But  if  this  method  betaken, 
it  will  be  necessary  to  augment  the  quantity  of  spirit  first  add- 
ed to  the  expressed  juice.  There  is  no  great  difference  in  the 
two  methods  of  adding  the  spices,  except  that  by  suspending 
them  in  the  ratafia,  the  liquor  is  generally  rendered  less  bright 
and  transparent. 

There  is  also  another  method  practised  in  making  ratafia, 
which  is  this  : take  the  quantity  of  fruit  proposed,  bruise  it, 
and  immediately  pour  the  spirit  on  the  pulp.  After  standing 
a day  or  two,  express  the  juice  and  spirit,  filtrate  it,  and  add 
the  sugar  and  spices  as  before.  But  this  method  requires  more 
spirit  than  the  former,  as  it  will  be  impossible  to  press  it  all 
out  of  the  skins,  and  other  parts  of  the  fruit  remaining,  after 
the  juice  is  extracted. 

Of  making  fne  and  dry  Ratafia  from  red  Fruit . 

Though  the  ratafia  we  have  just  mentioned  will  doubtless 
please  the  palates  of  many  people,  yet  there  are  others  who 
would  prefer  a different  sort ; it  is  therefore  necessary  to  know- 
how to  make  dry  as  well  as  sweet  ratafia,  if  we  are  desirous 
of  pleasing  all  sorts  of  palates. 

Dry  ratafia  is  prepared  in  the  same  manner  as  the  preceding, 
but  the  ingredients  are  different. 

An  equal  quantity  of  cherries  and  gooseberries  are  necessary 
in  making  dry  or  sharp  ratafia ; because  the  acidity  of  the 

Hh2 


358 


SECRETS  IN  ARTS,  TR'ADES,  &c. 


gooseberries  gives  the  requisite  flavor  to  this  sort  of  liqiior. 
But,  at  the  same  time  care  must  be  taken  that  the  gooseberries 
be  fully  ripe,  for  otherwise,  though  gooseberries  are  more  acid 
before  they  are  ripe  than  afterwards,  yet  that  acidity  is  not  the 
flavor  desired ; it  is  acerb  and  rough,  and  will  render  the  fla- 
vor of  the  ratafia  disagreeable.  The  same  observation  holds 
good  also  with  regard  to  the  cherries,  they  must  be  fully  ripe, 
as  in  making  the  soft  ratafia. 

Instead  of  black  cherries  used  in  the  composition  of  the  pre- 
ceding ratafia,  mulberries  should  be  used  in  this : the  reason 
df  this  change  is,  that  the  juice  of  the  black  cherry  is  more 
sweet  and  glutinous  than  that  of  the  mulberry,  and  therefore 
less  fit  for  making  the  ratafia.  But  the  mulberries  must  be  the 
ripest  and  blackest  possible,  in  order  to  give  the  better  colour 
£o  the  liquor. 

More  spirit  and  less  sugar  in  proportion  to  the  juice  of  the- 
fruit  is  also  required  in  this  composition  than  in  the  foregoing 
but  with  regard  to  the  spices,  the  same  quantity  is  generally 
added  to  both. 

Recipe  for  making  red  Ratafia , fine  and  dry . 

Take  of  cherries  and  gooseberries,  of  each  thirty  pounds, 
mulberries,  seven  pounds,  raspberries,  ten  pounds.  Pick  all 
these  fruits  clean  from  their  stalks,  &c.  bruise  them,  and  let 
them  stand  twelve  hours,  but  do  not  suffer  them  to  ferment. 
Press  out  the  juice,  and  to  every  pint  add  three  ounces  of  su- 
gar ; when  the  sugar  is  dissolved,  run  it  through  the  filtrating 
bag,  and  to  every  five  pints  of  liquor  add  four  pints  of  clean 
proof  spirit,  together  with  the  same  proportion  of  spirit  drawn 
from  the  spices  in  the  foregoing  composition. 

But  it  may  not  be  amiss  to  observe  here,  that  different  dis- 
tillers use  different  quantities  of  the  spirit  drawn  from  the  spi- 
ces. The  best  method,  therefore,  is  to  imitate  the  flavor  most 
universally  approved  of,  which  may  be  easily  done,  by  adding 
a greater  or  less  proportion  of  the  spiced  spirit. 

Of  mixed  Ratafia. 

By  mixed  ratafia  is  rneant  the  juices  of  fruits  prepared,  aiu£ 
ready  to  be  mixed  with  the  spirit  when  called  for. 

Recipe  for  making  mixed  Ratafia . 

Ratafia  is  composed  of  cherries  and  gooseberries ; of  these 
the  best  are  to  be  chosen,  bruised,  and  in  that  condition  suffer- 
ed to  remain  some  days  to  ferment.  The  juice  is  then  to  be 
strained  off,  the  quantity  of  sugar  and  brandy  added,  and  the 


SECRETS  m ARTS,  TRADES,  bo.  359 

whole  put  into  a cask,  and  close  stopped.  A lee  or  sediment 
will  fall  to  the  bottom  of  the  < ask,  which  sediment  will  be  of 
great  use  in  preserving  the  ratafia. 

The  proportion  of  black  cherries  will  be  large  in  this  ratafia, 
because  the  colour,  which  this  is  greatly  valued  for,  chiefly 
comes  from  the  juice  of  that  fruit. 

The  sugar  must  not  be  put  in  at  once,  because  the  acidness 
of  the  liquor  would  cause  a considerable  effervescence,  but  by 
a little  at  a time. 

These  instructions  being  observed,  a ratafia  of  this  kind  may 
be  easily  made  ; and  as  the  spirit  is  not  to  be  mixed  with  it,  till 
the  ratafia  is  called  for,  a large  quantity  of  it  may  be  made  at 
a small  expence,  when  the  fruits  are  in  perfection,  which  can- 
not be  done  by  the  common  methods. 

Red  fie  for  making  mixed  Ratafia . 

Take  of  common  cherries,  thoroughly  ripe,  four  hundred 
and  fifty  pounds;  gooseberries,  large  and  ripe,  two  hundred 
and  twenty-five  pounds ; black  cherries,  ripe  and  large,  fifty 
pounds.  Bruise  these  fruits,  and  in  that  condition  let  them 
continue  three  Gr  four  days  to  ferment : then  press  out  the  juice, 
and  add  one  fifth  part  of  spirit ; that  is,  if  you  have  two  hun- 
dred and  fifty  pints  of  juice,  you  must  add  to  it  fifty  pints  of 
spirit.  When  your  spirit  and  juice  are  mixed,  put  them  into 
a cask,  and  for  every  pint  add  three  ounces  of  sugar.  By  this 
means  your  ratafia  will  be  always  ready  to  mix  with  spirit. 

But  as  the  proportion  of  spirit  is  but  small,  it  will  be  neces- 
sary to  taste  your  ratafia,  at  least,  every  month,  lest  it  should 
ferment,  and  by  that  means  lose  both  its  flavor  and  colour.  As 
soon,  therefore,  as  you  perceive  the  least  alteration  in  your 
ratafia,  more  spirit  must  be  added  to  stop  the  fermentation ; 
and  by  this  method  it  may  be  kept  the  whole  year. 

If  you  have  any  ratafia  remaining  at  the  end  of  the  year,  you 
must  mix  it  with  that  just  made,  adding  a large  proportion  of 
black  cherries  ; because  the  colour  in  the  old  ratafia  will  not 
be  equal  to  that  of  the  new.  Or  you  may  add  to  your  old  ra- 
tafia a proper  quantity  of  the  fresh  juice  of  black  cherries, 
which  will  restore  its  colour,  and,  in  a great  measure,  its  flavor 
too:  so  that  if  your  ratafia  has  been  well  preserved,  it  will, 
when  mixed  with  fresh  juice  of  black  cherries,  be  but  little  in-* 
ferior  to  the  new. 

Of  white  Ratafia. 

As  red  fruits  are  the  basis  of  that  called  red  ratafia,  so,  on 
the  contrary,  that  mad^  from  the  juices  of  white  fruits  is  de- 
nominated white  ratafia. 


3-60 


SECRETS  IN  ARTS,  TRADES,  &c. 


There  are  various  kinds  of  ratafia  made  from  various  fruits  ; 
but  I shall  only  give  recipes  for  making  three  or  four  sorts, 
which  will  be  sufficient  for  all  the  rest,  as  the  method  is  nearly 
the  same  in  all. 

Recipe  for  making  Ratafia  from  the  Muscat , or  (white  Frontiniac 
Grape, 

The  berries  of  this  kind  of  grape  are  large,  and  grow  ex- 
tremely close  upon  the  bunches,  which  are  very  long,  and  have 
commonly  two  shoulders  ; the  fruit  when  ripe,  has  a rich  mus- 
ky flavor ; but  it  is  commonly  very  late  in  autumn  before  these 
grapes  are  in  perfection ; and  the  berries  being  so  very  close 
upon  the  bunches,  detain  the  moisture  in  the  centre,  so  that 
they  often  perish ; to  prevent  which,  some  curious  persons 
look  over  their  vines,  soon  after  the  grapes  are  formed,  and 
with  a pair  of  scissars,  cut  out  all  smaller  ones,  so  as  to  leave 
the  others  at  a moderate  distance,  whereby  the  sun  and  air  are 
easily  admitted,  which  dissipates  the  moisture,  and  prevents 
their  perishing.  There  is  another  kind  of  this  grape,  called  by 
some  the  white  Frontiniac  of  Alexandria , and  by  others  the 
Jerusalem  muscat,  which  is  a very  large  grape,  and  when  ripe 
an  excellent  fruit.  The  berries  of  the  Jerusalem  muscat  are 
of  an  oval  shape,  and  very  large.  They  grow  very  lose  on  the 
bunches,  are  very  fleshy  and  firm,  and  when  ripe,  are  of  a 
greenish  white,  and  a delicate  flavor. 

Either  of  these  kind  of  grapes  will  make  very  fine  ratafia; 
but  whichever  of  them  are  chosen,  they  must  be  picked  from 
the  stalks,  and  only  the  finest  berries  made  use  of.  The  stones 
must  also  be  picked  out ; for,  if  they  are  bruised  with  the  ber- 
ries, the  fine  flavor  of  the  juice  will  be  greatly  diminished. 

When  you  have  picked  the  grapes  from  the  stalks,  and  taken 
out  the  stones,  press  out  the  juice,  and  filtrate  it  through  a 
flannel  bag.  Then  add  the  quantity  of  sugar  and  spirit,  and 
flavor  it  to  your  mind,  with  a spirit  distilled  from  spices,  in 
the  manner  explained  below. 

The  general  proportion  of  sugar  and  spirit  is,  to  twenty  pints 
of  the  juice,  five  pounds  and  an  half  of  sugar,  ten  pints  of 
spirit,  and  what  quantity  you  please  of  the  spicy  spirit. 

To  make  the  spicy  spirit,  take  of  mace,  one  pound ; nut- 
megs, four  ounces ; spirit,  three  gallons,  and  draw  off  the 
whole  in  Balneum  Mart <e. 

By  the  same  method  you  may  make  red  ratafia  from  the  red 
Frontiniac  ; except  that  the  grapes  when  bruised,  must  be  suf- 
fered to  ferment  three  or  four  days  before  the  juice  is  pressed 
out ; because  the  colour,  which  resides  principally  in  the  skins 
of  the  grapes,  will  by  that  means  be  extracted. 

The  harries  of  the  red  muscat,  or  red  Frontiniac , are  about. 


SECRETS  IN  ARTS,  TRADES,  &c.  361 

the  size  of  those  of  the  white ; but  grow  much  thinner  on  the 
bunches.  This  grape,  when  thoroughly  ripe,  has  the  richest 
and  highest  flavor  of  any  yet  known  ; but  it  must  have  a dry 
soil  and  a south  aspect,  otherwise  it  seldom  ripens  well.  Be- 
sides the  above  grape,  there  is  another,  called  by  some,  red 
muscat  of  Alexandria , and  by  others,  red  Jerusalem  muscat. 
This  is  not  quite  so  late  in  ripening  as  the  white  muscat  of 
Alexandria , above  described  ; and  for  that  reason  more  esteem- 
ed. The  berries  of  this  kind  are  not  quite  so  large  as  those  of 
the  white,  but  of  the  same  form,  and  equal  in  goodness. 

Of  Ratafia  from  Peaches. 

The  ralafla  made  from  the  peach  is  the  finest  and  richest  fla- 
vor of  any  made  from  stoned  fruits.  It  is,  however,  necessary 
to  gather  the  peach  when  thoroughly  ripe,  but  at  the  same  time 
not  to  suffer  it  to  hang  too  long  on  the  tree : for,  as  on  the  one 
hand,  it  will  not  acquire  its  delicious  flavor  and  smell  till  tho- 
roughly ripe,  so,  on  the  other,  it  will  lose  both  if  suffered  to 
hang  on  the  tree  after  it  has  attained  to  a full  maturity.  Ano- 
ther necessary  caution  is  to  gather  it  in  fine  warm  weather,  and 
hear  the  middle  of  the  day,  because  then  both  the  flavor  and 
smell  are  in  the  greatest  perfection. 

It  is  also  requisite  to  make  choice  of  the  proper  sorts  of 
peaches  ; for  there  is  a remarkable  difference  in  the  flavor  of 
these  fruits.  Gardeners  reckon  above  thirty  sorts  of  peaches  ; 
but  not  more  than  half  that  number  are  proper  for  making  ra- 
tafia. I shall  therefore  give  a short  description  of  those  that 
are  most  proper,  that  the  young  distiller  may  not  be  disappoin- 
ted in  making  ratafia  from  peaches. 

1 . The  early  purple  (called  by  the  French , la  pourpree  haii've ,) 
This  tree  hath  smooth  leaves  : the  flowers  large  and  open  ; the 
fruit  is  large,  round,  and  of  a fine  red  colour  ; the  flesh  is 
white,  but  very  red  at  the  stone;  very  full  of  juice,  which  has 
a rich  vinous  flavor.  This  peach  is  ripe  about  the  middle  of 
August. 

2.  The  large,  or  French  mignon.  The  leaves  of  this  tree 
are  smooth,  and  the  flowers  large  and  open.  The  fruit  is  a 
little  oblong,  generally  swelling  out  on  one  side,  and  of  a fine 
colour.  The  juice  is  very  sweet,  and  of  a high  flavor;  the  flesh 
white,  but  very  red  at  the  stone,  which  is  small,  and  easily  se- 
parates from  the  flesh.  This  peach  is  ripe  in  the  middle  of 
August. 

3.  The  chevreuse,  or  belle  chevreuse.  This  tree  hath  smooth 
leaves,  and  its  flowers  are  small  and  contracted.  The  fruit  is 
of  a middling  size,  a little  oblong,  and  of  an  elegant  colour 
The  flesh  is  white,  but  very  red  at  the  stone,  from  which  it  se- 
parates ; full  of  a rich  sugary  juice,  and  ripens  toward  the  lat- 
ter end  of  August, 


m 


SECRETS  IN  ARTS,  TRADES,  &c. 


4.  The  red  magdalen,  called  by  the  French  about  Paris  f 
Magdeleine  de  Courson.  The  leaves  of  this  tree  are  deeply 
sawed,  and  the  flowers  large  and  open.  The  fruit  is  large, 
round,  and  of  a fine  red  colour.  The  flesh  is  white,  but  very 
red  at  the  stone,  from  which  it  separates.  The  juice  is  very 
sugary  and  of  a rich  flavor.  It  is  ripe  the  latter  end  of  Au- 
gust. 

5.  Smith's  Newington . This  tree  hath  sawed  leaves,  and 
large  open  flowers.  The  fruit  is  of  a middling  size,  and  of  a 
fine  red  next  the  sun.  The  flesh  is  very  firm  and  white,  but 
very  red  at  the  stone,  to  which  it  closely  adheres.  It  has  a rich 
sugary  juice,  and  is  ripe  the  latter  end  of  August. 

6.  The  chancellor.  The  leaves  of  this  tree  are  smooth  and 
the  flowers  small  and  contracted.  The  fruit  is  shaped  some- 
what like  the  belle  chevreuse,  but  rounder.  The  flesh  is  white 
and  melting,  and  separates  from  the  stone,  where  it  is  of  a fine 
red  colour.  The  skin  is  very  thin,  and  the  juice  remarkably 
rich.  It  ripens  about  the  end  of  August. 

7.  The  bellegarde;  or,  as  the  French  call  it,  the  gallande . 
This  tree  hath  narrow  leaves,  and  small  contracted  flowers. 
The  fruit  is  very  large  and  round,  and  of  a deep  purple  colour 
on  the  side  exposed  to  the  sun.  The  flesh  is  white,  melting, 
and  separates  from  the  stone,  where  it  is  of  a deep  red  colour. 
The  juice  is  very  rich.  This  peach  is  ripe  about  the  beginning 
cf  September. 

8.  The  bourdjne.  The  leaves  of  this  tree  are  smooth,  and 
the  flowers  small  and  contracted.  The  fruit  is  large,  round, 
and  of  a fine  red  colour  next  the  sun.  The  flesh  is  white,  melt- 
ing, and  separates  from  the  stone,  where  it  is  of  a fine  red  co- 
lour. The  juice  is  vinous  and  rich.  It  is  ripe  the  beginning 
of  September,  and  greatly  esteemed  by  the  curious. 

9.  The  Lisle ; or,  as  the  French  call  it,  la  pepetite  nsiolette 
hative.  This  tree  hath  smooth  leaves,  and  small  contracted 
flowers.  The  fruit  is  of  a middle  size,  and  next  the  sun  of  a 
fine  violet  colour.  The  flesh  is  of  a pale  yellow,  melting,  full 
of  a rich  vinous  juice  ; but  adheres  to  the  stone,  where  it  is 
very  red.  This  fruit  is  ripe  the  beginning  of  September. 

10.  The  old  Newington . The  leaves  of  this  tree  are  sawed, 
and  the  flowers  large  and  open.  The  fruit  is  fair,  large,  and 
of  a beautiful  colour  next  the  sun.  The  flesh  is  white,  melting, 
and  closely  adheres  to  the  stone,  where  it  is  of  a deep  red  co- 
lour. The  juice  is  very  rich  and  vinous.  It  ripens  about  the 
middle  of  September. 

11.  The  rambouillet,  commonly  called  the  rambullion.  This 
tree  hath  smooth  leaves,  and  large  open  flowers.  The  fruit 
is  of  a middling  size,  rather  round  than  long,  deeply  divided 
by  a furrow  in  the  middle ; of  a fine  red  colour  next  the  sun, 
but  of  a light  yellow  next  the  wall.  The  flesh  is  melting,  of 


SECRETS  IN  ARTS,  TRADES,  kt.  36$ 

a bright  yellow  colour,  except  near  the  stone,  from  which  it 
separates,  where  it  is  of  a deep  red.  The  juice  is  rich  and  of 
a vinous  flavor.  This  fruit  ripens  about  the  middle  of  Sep- 
tember. 

12.  The  pourpree,  or,  as  the  French  generally  call  it,  Pour - 
pree  tar dive , the  late  purple.  The  leaves  of  this  tree  are  very 
large,  and  sawed,  the  shoots  strong,  and  the  flowers  small  and 
contracted.  The  flesh,  except  near  the  stone,  from  which  it 
separates,  and  where  it  is  red,  is  white,  melting,  and  of  a rich 
sugary  juice.  It  is  not  ripe  till  near  the  end  of  September. 

IS.  The  nevette.  The  leaves  of  this  tree  are  sawed,  and  the 
flowers  small  and  contracted.  The  fruit  is  large,  somewhat 
longer  than  round,  of  a bright  red  colour  next  the  sun,  and  of 
a pale  yellow  on  the  other.  The  flesh  is  melting,  full  of  a rich 
juice,  and  very  red  at  the  stone,  from  which  it  separates.  It 
ripens  about  the  middle  of  September,  and  is  esteemed  one  of 
the  best  peaches. 

14.  The  royal.  This  tree  hath  smooth  leaves,  and  small 
contracted  flowers.  The  fruit  is  large,  round,  and  of  a deep 
red  on  the  side  exposed  to  the  sun,  but  of  a pale  yellow  on  the 
other.  The  flesh  is  white,  melting,  and  full  of  a rich  juice,  of 
a white  colour,  except  near  the  stone,  from  which  it  separates, 
where  it  is  of  a deep  red.  This  fruit  is  ripe  about  the  middle 
of  September. 

15.  The  monstrous  pavy  of  pomponne.  The  leaves  of  this 
tree  are  smooth,  the  flowers  large  and  open.  The  fruit  is  very 
large  and  round,  many  times  fourteen  inches  in  circumference. 
The  flesh  is  white,  melting,  and  closely  adheres  to  the  stone, 
where  it  is  of  a deep  red  colour.  The  side  next  the  sun  is  a 
beautiful  red,  and  the  other  of  a pale  flesh  colour.  It  ripens 
about  the  end  of  October,  and  when  the  autumn  is  warm,  is  an 
excellent  peach. 

The  above  description  of  the  different  kinds  of  peaches  pro- 
per for  making  ratafia,  will  be  of  use  to  the  young  artist,  as  the 
fine  flavor  of  this  liquor  in  a great  measure  depends  on  a|  pro- 
per choice  of  the  fruits  used  in  the  composition  ; and  if  the 
instructions  relating  to  the  perfections  and  ripeness  of  these 
fruits  are  observed,  an  excellent  cordial  may  be  easily  made  in 
the  following  manner ; 

Take  your  peaches,  bruise  them,  and  instantly  strain  out 
their  juice  through  a piece  of  strong  linen.  In  this  juice,  with- 
out any  mixture  of  water,  dissolve  your  sugar  ; and  when  the 
sugar  is  melted,  add  the  quantity  ot  spirit.  No  spices  must 
be  used  in  this  ratafia,  the  fine  flavor  of  the  peach  being  far 
preferable  to  all  spices  in  the  world.  The  quantity  of  either 
the  sugar  or  spirit  may  be  augmented  or  lessened  according  to 
your  own  judgment,  or  in  proportion  to  the  price  of  your  ra- 
tafia. 


364 


SECRETS  IN  ARTS,  TRADES,  Sec. 


As  soon  as  the  spirit  is  added  to  the  dulcified  juice  of  the 
peaches,  the  whole  must  be  filtrated  through  a flannel  bag,  put 
into  bottles  close  stopped ; for  the  fine  flavor  of  the  peach  will 
soon  be  lost,  unless  the  bottles  are  very  well  corked.  Some  al- 
so cover  the  cork  with  sealing-wax,  which  is  not  a bad  caution. 

If  you  would  have  your  ratafia  of  a bright  red  colour,  you 
must  let  your  bruised  peaches  ferment  a day  or  two ; by  which 
means  the  colour  of  the  skin,  and  that  of  the  flesh  near  the 
stone,  will  be  extracted,  and  give  your  ratafia  the  colour  de- 
sired. 

Of  Orange -flower  Ratafla . 

The  orange-flowers  used  in  making  ratafia  should  be  large, 
in  their  full  perfection,  gathered  before  the  rising  of  the  sun, 
and  carefully  picked  from  their  stalks,  &c.  Some  blanch  the 
orange-flowers,  by  putting  them  into  a small  quantity  of  water, 
and  boiling  them  a few  minutes  over  the  fire.  But  by  this  me- 
thod the  most  volatile  parts  of  the  flower  are  evaporated,  by 
which  the  ratafia  will  lose  much  of  its  delicate  flavor. 

The  best  way,  therefore,  is  to  use  the  orange-flowers,  with- 
out any  previous  boiling. 

Recipe  for  making  ten  gallons  of  Orange-flower  Ra- 
tafla. 

Take  of  orange- flowers,  fresh  gathered  and  clean  picked  from 
their  stalks,  &c.  five  pounds,  and  infuse  them  six  days  in  five 
gallons  of  clean  proof  spirit.  Dissolve  fourteen  pounds  of  su  - 
gar  in  five  gallons  of  water;  and  after  straining  the  spirit  from 
the  flowers,  mix  it  with  the  syrup,  and  filtrate  the  whole  through 
a flannel  bag. 

Some  instead  of  common  water  use  the  orange-flower  water; 
but  it  will  be  necessary  in  pursuing  that  method  to  take  care 
that  the  water  be  fresh  made,  and  very  fragrant ; for,  other- 
wise, instead  of  improving,  you  will  greatly  injure  the  fine  fla- 
vor of  your  ratafia. 

The  foreign  distillers  keep  two  sorts  of  orange-flower  rata- 
fia ; one  they  call  single , and  the  other  double . The  former  is 
made  according  to  the  above  recipe  ; but  in  making  the  latter, 
they  use  double  the  quantity  of  orange-flowers,  and  considera- 
bly augment  the  proportion  of  sugar.  It  will  be  needless  to 
give  a recipe  for  making  that  sort  of  ratafia,  which  they  call 
double,  as  the  process  is  exactly  the  same. 

Ratafla  of  Portugal  Orange. 

Ratafia  may  be  made  from  any  sort  of  orange,  but  that  of 
the  Portugal  orange  is  reckoned  the  best. 


SECRETS  m ARTS,  TRADES,  &c. 


365 


The  oranges  must  be  chosen  fair,  large,  and  ripe  ; and  the 
outer  or  yellow  peel  be  carefully  taken  off.  The  juice  of  the 
oranges  must  be  then  pressed  out,  dulcified  with  sugar : and 
mixed  with  the  spirit : after  which  the  outer  rinds  are  to  be  ad- 
ded, and  after  a proper  infusion,  the  whole  filtrated  through  a 
flannel  bag. 

Recipe  for  making  three  gallons  of  Portugal  Orange 
Ratafia. 

Take  of  the  juice  of  Portugal  oranges,  two  gallons ; clean 
rectified  spirit,  one  gallon  ; four  pounds  of  sugar;  and  the 
peel  of  ten  oranges.  Let  the  whole  infuse  a fortnight,  and 
then  filter  the  liquor  through  a flannel  bag. 

Some  instead  of  infusing  the  peel  as  directed  in  the  above  re- 
cipe, put  the  peel  into  the  spirit,  and  distil  it  in  Balneum  Maria:; 
after  which  they  add  the  spirit  to  the  dulcified  orange  juice, 
and  filtrate  it  as  before. 

The  foregoing  recipes  for  making  ratafia  from  different 
fruits,  & c.  will  be  sufficient  to  instruct  the  young  distiller  in  the 
method  necessary  to  be  pursued  for  making  cordials  of  this  kind ; 
for  it  would  be  tedious  to  give  formulas  for  making  all  kinds 
of  ratafia  kept  by  different  distillers.  The  method  in  all  is 
nearly  the  same  ; and  the  proportion  of  sugar  and  spirit  may 
be  easily  discovered  by  a few  experiments. 

Article  IX. 

Of  Geneva . 

There  was  formerly  kept  in  apothecaries  shops  a distilled 
spinfcuous  water  of  juniper ; but  the  vulgar  being  fond  of  it  as 
a dram,  the  distillers  supplanted  the  apothecaries,  and  sold  it 
under  the  name  of  Geneva.  The  common  sort,  however,  is 
not  made  from  juniper-berries,  as  it  ought  to  be,  but  from  oil 
of  turpentine  the  method  of  which  we  shall  give  in  the  sequel 
of  this  chapter. 

Juniper-berries  are  a roundish  fruit,  of  the  size  of  a pea. 
They  wither  arid  wrinkle  in  the  drying,  and  we  meet  with  them 
variously  corrugated,  and  usually  covered  with  a bluish  resin- 
ous dust  when  fresh.  They  should  be  chosen  fresh,  plump; 
full  of  pulp,  and  of  a strong  taste  and  smell.  Some  of  the  ju- 
niper shrubs  are  males,  some  females  of  the  same  species  ; the 
male  shrubs  produce  in  April  or  May  a small  kind  of  juli  with 
spices  on  them,  very  large,  and  full  of  farina  ; the  females  pro- 
duce none  of  the  juli,  but  only  the  berries,  which  do  not  ripen 
till  the  second  year,  and  then  do  not  immediately  fall  off,  so 


366 


SECRETS  IN  \RTS,  TRADES,  kc. 


that  it  is  no  uncommon  thing  to  see  three  sets  of  berries,  or 
the  berries  of  three  different  years  at  once  on  the  same  tree. 

If  you  make  use  of  American  berries,  let  them  be  fully  ripe 
before  they  are  gathered : and  in  order  to  preserve  them,  spread 
them  very  thin  on  a boarded  floor,  leaving  the  windows  and 
doors  open,  and  turn  them  once  a day  till  they  are  dry  ; after 
which  pack  them  up  in  barrels,  so  that  no  air  may  come  to 
them,  and  they  will  keep  good  all  the  year.  Some,  when  they 
are  dry,  throw  them  altogether  in  a heap  in  a corner  of  the 
room,  where  they  continue  till  wanted  for  use  : but  the  berries 
will  not  keep  so  well  by  this  method,  as  by  being  packed  in 
casks,  they  are  subject  to  contract  a mouldiness,  which  will 
give  a taste  to  the  goods  greatly  to  their  disadvantage. 

Some  distillers,  as  soon  as  their  berries  are  gathered,  put 
them  into  casks,  and  cover  them  with  spirits  of  wine,  by  this 
method  the  berries  are  indeed  well  preserved,  without  any 
danger  of  contracting  an  ill  smell,  which  they  are  very  apt  to 
do  by  the  other  methods,  unless  the  greatest  care  be  taken  ; 
but  then  it  must  be  remembered,  that  the  spirit  will  extract 
great  part  of  their  essential  oil,  in  which  their  virtues  consist, 
and  consequently  the  berries  themselves  wiil  be  rendered  of  lit- 
tle value.  If,  therefore,  you  preserve  your  berries  in  this  man- 
ner, you  should  put  into  each  cask  or  jar,  only  the  quantity 
you  use  for  one  charge  of  your  still ; and  when  you  have  occa- 
sion to  use  them,  put  both  the  spirits  and  berries  into  your 
alembic. 

Thus  your  berries  will  be  finely  preserved,  without  any  loss 
either  of  their  essential  oil,  or  the  spirits  made  use  of  to  pre- 
serve them. 

Recipe  for  making  ten  gallo?is  of  Geneva . 

Take  of  juniper-berries,  three  pounds  ; proof  spirit,  ten 
gallons ; whaler,  four  gallons.  Draw  off  by  a gentle  fire  till  the 
faints  begin  to  rise,  and  make  up  your  goods  to  the  strength 
required  with  clean  water. 

The  distillers  generally  call  those  goods  which  are  made  up 
proof  by  the  name  of  Royal  Geneva;  for  the  common  sort  is 
much  below  proof,  ten  gallons  of  spirit  being  sufficient  for 
fifteen  gallons  of  Geneva.  Nay  what  is  generally  sold  at  the 
common  alehouses  is  made  in  the  following  manner: 

Take  of  the  ordinary  malt  spirits,  ten  gallons  ; oil  of  turpen- 
tine, two  ounces;  bay  salt,  three  handfuls.  Draw  off  by  a 
gentle  fire  till  the  faints  begin  to  rise,  and  make  up  your  goods 
to  the  strength  required  with  clean  water. 

Jn  this  manner  is  the  common  geneva  made,  and  it  is  sur- 
prising that  people  should  accustom  themselves  to  drink  it  for 
pleasure. 


367 


SECRETS  IN  ARTS,  TRADES,  &c. 

There  is  a sort  of  this  liquor  called  Holland's  geneva,  from 
its  being  imported  from  Holland , which  is  greatly  esteemed. 

The  ingredients  used  by  the  Dutch  are,  however,  the  same 
as  those  given  in  the  first  recipe  of  this  article,  only  instead  of 
malt  spirit  they  use  French  brandy.  In  the  first  part  of  this 
Treatise  we  have  sufficiently  shewn  the  nature  of  French  bran* 
dy,  and  in  what  its  excellence  consists  ; and,  also,  that  by  the 
help  of  a clean  spirit,  cordial  waters  may  be  made  with  the 
same  goodness  as  those  drawn  with  French  brandy.  If,  there- 
fore, the  distiller  be  careful  in  distilling  and  rectifying  his  malt 
spirit,  he  may  make  geneva  equal  to  that  of  the  Dutch , provi- 
ded it  be  kept  to  a proper  age  ; for  all  spirituous  liquors  con- 
tract a softness  and  mellowness  by  age,  impossible  to  be  imita- 
ted by  art. 

Article  X. 

Of  Cherry-Brandy. 

This  liquor  is  greatly  called  for  in  the  country  ; and  is  made 
different  ways.  Some  press  out  the  juice  of  the  cherries,  and 
having  dulcified  it  with  sugar,  add  as  much  spirit  to  it  as  the 
goods  will  bear,  or  the  price  it  is  intended  to  be  sold  for.  But 
the  common  method  is  to  put  the  cherries  clean  picked  into  a 
cask,  with  a proper  quantity  of  proof  spirit,  and  after  stand- 
ing eighteen  or  twenty  days,  the  goods  are  drawn  off  into  ano- 
ther cask  for  sale,  and  about  two  thirds  of  the  first  quantity  of 
spirits  poured  into  the  cask  upon  the  cherries.  This  is  suffer- 
ed to  stand  about  a month  to  extract  the  whole  virtue  from  the 
cherries,  after  which  it  is  drawn  off  as  before  ; and  the  cherries 
pressed  to  take  out  the  spirit  they  had  absorbed.  The  propor- 
tion of  cherries  and  spirit  is  not  very  nicely  observed  ; the 
general  rule  is  to  let  the  cask  be  about  half  filled  with  cherries, 
and  then  filled  up  with  proof  spirits.  Some  add  to  every 
twenty  gallons  of  spirit,  half  an  ounce  of  cinnamon,  an  ounce 
of  cloves,  and  about  three  pounds  of  sugar,  by  which  the  fla- 
vor of  the  goods  is  considerably  increased.  Butin  order  to 
save  expences,  not  only  the  spices  and  sugar  are  generally  omit- 
ted, but  also  a great  part  of  the  cherries,  and  the  deficiency 
supplied  by  the  juice  of  elder-berries.  Your  own  reason, 
therefore,  and  the  price  you  can  sell  your  goods  for,  must  di- 
rect you  in  the  choice  of  your  ingredients. 

By  the  same  method  you  may  make  raspberry  brandy  ; and 
if  the  colour  of  the  goods  be  not  deep  enough,  it  may  l e im 
proved  by  an  addition  of  cherry-brandy. 


THE 


COMPLETE 

FAMILY  BREWER  ; 

OR,  THE 

BEST  METHOD  OF  BREWING  OR  MAKING 
ANY  QUANTITY  OF 

GOOD  STRONG  ALE  AND  SMALL  BEER, 

IN  THE  GREATEST  PERFECTION, 

■FOR  THE  USE  OF  PRIVATE  FAMILIES; 
From  a Peck  of  Malt  to  60  Bushels* 


| "’HIS  Treatise  being  intended  principally  for  the  use  of  pri- 

L vate  families,  it  will  be  necessary  to  begin  with  Directions, 

How  to  choose  good  Malt. 

Malt  is  chosen  by  its  sweet  smell,  mellow  taste,  full  flower, 
round  body  and  thin  skin.  There  are  two  sorts  in  general  used, 
the  pale  and  the  brown ; the  former  is  most  used  in  gentle- 
men’s houses,  and  private  families ; the  latter  in  public  brew- 
houses,  as  seeming  to  go  further,  and  make  the  liquor  high  co- 
loured, Others  again  mix  one  third  brown  with  two  thirds 
pale  ; but  this  depends  upon  the  liking  of  the  drinkers.  The 
sweetest  Malt  is  that  which  is  dryed  with  coak  or  cinders. 

In  grinding  it,  see  that  the  mill  be  clean  from  dust,  cobwebs, 
See.  and  set  so  as  to  crush  every  grain  without  grinding  it  to 
powder ; for  you  had  better  have  some  small  grains  slip  through 
untouched,  than  have  the  whole  ground  too  small,  which  will 
cause  it  to  take  together,  so  that  you  cannot  get  the  goodness 
out  of  it. 

Of  Hops. 

Hops  are  chosen  by  their  bright  green  colour,  sweet  smell, 
and  clamminess,  when  rubbed  between  the  hands. 


SECRETS  IN  ARTS,  TRADES,  he. 


369 


Of  water  for  Brewing. 

Water  out  of  rivers  or  rivulets  is  the  best,  except  polluted 
by  the  melting  of  snow  or  land  water  from  clay  or  ploughed 
lands.  Snow  water  will  take  near  one  fifth  part  more  of  malt 
to  make  the  beer  good.  It  you  have  no  river  water,  a pond 
that  has  a bottom  not  over  muddy,  and  is  fed  by  a spring  will 
do  ; for  the  sun  will  soften  and  rarefy  it.  Very  hard  water 
drawn  from  a deep  well,  into  a wide  cistern  or  reservoir,  and 
exposed  to  the  air  or  sun,  in  two  or  three  days  has  been  brew- 
ed with  success,  by  the  addition  of  malt.  Rain  water  comes 
next  to  river  for  brewing,  in  short,  all  water  that  will  raise  a la- 
ther with  soap,  is  good  for  brewing. 

Of  the  Brewing  vessels. 

To  a copper  that  holds  36  gallons,  the  mash  tun  ought  to 
be  at  least  big  enough  to  contain  six  bushels  of  malt,  and  the 
copper  of  liquor,  and  room  for  mashing  or  stirring  it : The  un- 
der back,  coolers  and  working  tuns,  may  be  rathe:  fitted  for  the 
conveniency  of  the  room,  than  to  a particular  size  ; for  if  one 
vessel  be  not  sufficient  to  hold  your  liquor,  you  may  take  a 
second. 

Of  cleaning  and  sweetening  cask s and  Brewing  vessels , 

If  a cask,  after  the  beer  is  drank  out,  be  well  stopt  to  keep* 
out  the  air,  and  the  lees  remaining  in  it  till  you  want  to  use  it 
again,  you  will  need  only  to  scald  it  well,  and  take  care  of  the 
hoops  before  you  fid  it ; but  if  air  gets  into  a foul  empty  cask, 
it  will  contract  an  ill  scent  in  spite  of  scalding.  A handful  of 
bruised  pepper  boiled  in  the  water  you  scald  with,  will  take 
out  a little  musty  smell ; but  the  surest  way  is  to  take  out  the 
head  of  the  cask,  and  let  the  cooper  shave  and  burn  it  a little, 
and  then  scald  it  for  use  ; if  you  cannot  conveniently  have  a 
cooper  to  the  cask,  get  some  stone  lime,  and  put  about  three 
pound  into  a barrel,  (and  proportionabiy  to  smaller  or  bigger 
vessels)  and  put  to  it  about  six  gallons  of  cold  water,  bung  it 
up,  and  shake  it  about  for  some  time,  and  afterwards  scald  it 
well ; or  for  want  of  lime,  take  a linen  rag,  and  dip  it  in  melted 
brimstone,  and  fasten  one  end  to  the  bung,  and  light  the 
other,  and  let  it  hang  on  the  cask.  You  must  give  it  a little  air 
else  it  will  not  burn  ; but  keep  in  as  much  of  the  sulphur  as  you 
can.  Scald  it  afterwards,  and  you  will  find  no  ill  smell. 

If  you  hsve  new  casks,  before  you  fill  them,  dig  places  in 
the  earth,  and  lay  them  half  their  depth  with  their  bung  holes 
downward,  for  a week  \ and  after  well  scalding  them,  yc^  may 
venture  to  fill  them. 

I i 2 / 


370 


SECRETS  IN  ARTS,  TRADES,  Sec. 


Another  way  to  proceed,  if  your  brewing  vessels  are  tinged 
with  any  ill  smell,  is  to  take  unslacked  lime  and  water,  and 
with  an  old  broom  scrub  the  vessel  whilst  the  water  is  hissing, 
with  the  lime;  and  afterwards -take  all  this  lime  and  water  a- 
way,  and  put.  fresh  water  into  the  vessel,  and  throw  some  bay 
or  common  salt  into  each,  and  let  it  stand  a day  or  two  ; and 
when  you  come  to  brew,  scald  your  vessels,  throw  into  them 
a little  malt-dust  or  bran  ; and  this  will  not  only  finish  their 
sweetening,  but  stop  them  from  leaking. 

But  since  there  is  so  much  trouble  in  getting  vessels  sweet 
after  they  have  been  neglected,  you  ought  to  make  all  thor- 
ough after  brewing,  and  once  a month  to  fill  your  vessels  with 
fair  water,  and  let  it  off  again  in  two  or  three  days. 

Of  Mashing  or  taking  your  Liquors . 

Suppose  you  take  six  bushels  of  malt  and  two  pounds  of 
hops,  and  would  make  of  it  one  barrel  of  strong  and  two  bar- 
rels of  small  beer: 

Heat  your  first  copper  of  liquor  for  mashing,  and  strew  over 
it  a double  handful  of  bran  or  malt,  by  which  you  will  see 
when  it  begins  to  boil ; for  it  will  break  and  curl,  and  then  it 
is  fit  to  be  let  off  into  the  mash-tun,  where  it  must  remain  un- 
til  the  steam  is  quite  spent,  and  you  can  see  your  face  in  it, 
before  you  put  in  your  malt ; and  then  you  begin  to  mash, 
stirring  it  all  the  while  you  are  putting  in  the  malt : but  keep 
out  about  half  a bushel  dry,  which  you  are  to  strew  over  the 
rest,  when  you  have  done  stirring  it,  which  will  be  as  soon  as 
you  have  well  mixed  it  with  the  liquor,  and  prevented  it  from 
clodding. 

After  the  dry  malt  is"  laid  on,  cover  your  mash-tun  with  the 
sacks  or  cloths,  to  prevent  losing  any  spirit  of  the  malt,  and  let 
it  so  remain  for  two  hours.  Meanwhile  have  another  copper 
of  liquor  hot ; and  at  two  hours  end  begin  to  let  off  your  first 
wort  into  the  under-back.  Receive  a pailful  of  the  first  run- 
ning, and  throw  it  again  upon  the  malt.  You  will  find  that  the 
malt  has  sucked  up  half  of  your  first  copper  of  liquor ; and 
therefore  to  make  up  your  quantity  of  wort  for  your  strong 
beer,  you  must  gradually  lade  out  of  the  second  copper,  and 
strew  bowl  after  bowl  over  the  malt,  giving  it  time  to  soak 
through,  and  keeping  it  running  by  an  easy  stream,  till  you 
perceive  you  have  about  forty  gallons,  which  in  boiling  and 
working  will  be  reduced  to  thirty-six. 

If  you  throw  into  the  under-back  (whilst  you  are  letting  off) 
about  half  a pound  of  hops,  it  will  preserve  it  from  foxing,  or 
growing  sour  or  ropy. 

Your  first  wort  being  all  run  off,  you  must  soften  the  tap  of 
the  mash-tun  $ and  take  a copper  of  hot  liquor  for  your  second 


SECRETS  IN  ARTS,  TRADES,  &c. 


sri 

mashing,  stirring  up  the  malt  as  you  did  at  first,  and  then  cover 
it  close  for  two  hours  more.  Meanwhile  you  fill  your  copper 
with  the  first  wort,  and  boil  it  with  the  remainder  of  the  two 
• pounds  of  hops,  for  an  hour  and  a half,  and  then  lade  it  off  in- 
to the  coolers. 

Contrive  to  receive  the  hops  in  a sieve,  basket,  or  thin  wool- 
len bag  that  is  sweet  and  clean  ; then  immediately  fill  your  cop- 
per with  cold  liquor;  renew  your  fire  under  it,  and  begin  to  let 
offyour  second  wort,  throw  a handful  of  hops  into  the  under- 
bade, for  the  same  reason  as  before  : you  will  want  to  lade  a 
few  bowls  full  of  liquor  over  the  malt  to  make  up  the  copper 
full  of  second  wort ; and  when  you  have  enough,  fasten  the 
tap  and  mash  a third  time  after  the  same  manner,  and  cover  it 
close  for  another  two  hours ; and  then  charge  your  copper 
with  the  second  wort,  boiling  it  for  an  hour  with  t he  same  hops. 

By  this  time  you  may  shift  your  first  wort  out  of  the  coolers 
into  a working-tun,  to  make  room  for  the  second  wort  to  come 
into  the  coolers  ; and  then  your  copper  being  empty,  you  may 
heat  as  much  liquor  as  will  serve  you  to  lade  over  the  malt, 
or,  by  this  time,  rather  grains,  to  make  up  your  third  and  last 
copper  of  wort,  which  must  be  bottled  with  the  same  hops 
over  again  ; and  then  your  coolers  are  discharged  of  your  se- 
cond wort,  to  make  room  for  the  third  ; and  when  they  are 
both  of  a proper  coolness,  they  may  be  put  together  before 
you  set  them  a working. 

If  you  would  extract  almost  all  the  goodness  of  the  malt  in 
the  first  wort,  by  way  of  making  October  beer,  you  must  be- 
gin to  let  off  soon  after  you  have  mashed,  (by  a small  stream) 
and  throw  it  upon  the  malt  again  pail  after  pail,  for  an  hour, 
stirring  it  frequently  in  the  mean  time,  and  then  let  it  all  run 
off,  by  a very  small  stream.  But  when  you  have  your  quanti- 
ty of  strong  beer,  you  must  proceed  in  your  second  mashing, 
as  before. 

During  the  time  of  shifting  your  liquors  out  of  the  copper, 
it  is  of  consequence  to  take  care  to  preserve  it  from  receiving 
damage  by  burning : you  should  always  contrive  to  have  the 
fire  low,  or  else  to  damp  it  at  the  time  of  emptying,  and  be 
yery  expeditious  to  put  in  fresh  liquor. 

Of  IV o rki ng  the  Liquor . 

In  this,  regard  must  be  had  to  the  water  ; liquor  naturally 
grows  warm  in  working  ; therefore  in  mild  weather  it  should 
be  cold  before  it  be  set  on,  but  a little  warm  in  cold  weather. 
The  manner  of  doing  it  is,  to  put  some  good  sweet  yeast  into 
a hand-bowl  or  piggin,  with  a little  warm  wort ; then  put  the 
hand-bowl  to  swim  upon  the  wort  in  the  working-tun,  and  in 
a little  while  it  will  work  out,  and  leisurely  mix  with  the  wort ; 


SECRETS  IN  ARTS,  TRADES,  &c. 


3 It 

and  when  you  find  the  yeast  is  gotten  hold  of  the  wort,  you 
must  look  after  it  frequently;  and  if  you  perceive  it  begins  to 
heat  and  ferment  too  fast,  lade  some  of  it  out  into  another  tub  ; 
and  when  grown  cold,  it  may  be  put  back  again  ; or  if  you  re- 
serve some  of  the  raw  wort,  you  may  check  it  leisurely,  by  stir- 
ring it  in  with  a hand-bowl.  The  cooler  you  work  your  liquor 
the  better,  provided  it  does  but  work  well. 

If  you  happen  to  check  it  too  much,  you  may  forward  its 
working,  by  filling  a gallon  stone  bottle  with  boiling  water. 
Cork  it  close,  and  put  the  bottle  into  the  working  tun.  An 
ounce  or  two  of  powdered  ginger  will  have  the  same  effect. 

There  are  variety  of  methods  in  managing  liquors  whilst 
they  are  working.  In  the  North  they  beat  the  yeast  of  Strong 
Beer  and  Ale  once  in  two  or  three  hours,  for  two  or  three  days 
together. 

This  they  reckon  makes  the  drink  more  beady,  but  wi  hal 
hardens  it  so  as  to  be  drinkable  in  two  or  three  days  ; the  last 
day  of  beating  it  in,  (stirring  the  yeast  and  beer  together)  the 
yeast,  as  it  rises,  will  thicken  ; and  then  they  take  off  part  of 
the  yeast,  and  beat  in  the  rest,  which  they  repeat  as  often  as 
it  rises  thick;  and  when  it  has  done  working,  they  tun  it  up, 
so  as  it  may  just  work  out  of  the  barrel. 

Others  again  do  not  beat  it  in  at  all,  but  let  their  strong 
drink  work  about  two  days,  or  till  they  see  the  ferment  is  over  ; 
and  then  they  take  off  the  top  yeast,  and  either  by  a tap  near  the 
bottom,  let  it  off  fine,  or  else  lade  it  out  gently,  to  leave  the 
sediment  and  yeast  at  the  bottom.  This  way  is^proper  for  li- 
quor that  is  to  be  drank  soon  ; but  if  it  be  to  keep,  it  will 
want  the  sediment  to  feed  upon,  and  may  propably  grow  stale, 
unless  you  make  artificial  lees  : This  you  may  make  of  a quart 
of  brandy,  and  as  much  flour  of  wheat  or  beans  as  will  make 
it  into  dough  ; put  them  in  lumps  into  the  bunghole  as  soon  as 
it  has  done  working.  Or  else  take  a pound  of  the  powder  of 
oyster-shells,  or  of  fat  chalk,  and  mix  it  with  a pound  of  trea- 
cle or  honey,  and  put  i in  soon  after  it  has  done  working, 

It  would  add  to  the  goodness,  as  well  as  fining  of  your  malt 
liquor,  if  you  took  two  quarts  of  wheat  or  beans,  and  make 
them  very  dry  and  crisp  in  an  oven,  or  before  the  fire,  and  boil 
them  in  your  first  copper  of  wort.  They  would  strain  off 
with  your  hops,  and  might  be  put  with  them  into  the  second 
copper. 

Of  the  fining  of  Malt  Liquors, 

It  is  most  desirable  to  have  beer  fine  of  itself,  which  it  sel- 
dom falls  to  do  in  due  time,  if  rightly  brewed  and  worked  ; 
but  as  disappointments  some  times  happen,  it  will  be  necessary 
to  know  what  to  do  in  such  cases. 


SECRETS  IN  ARTS,  TRADES,  &c.  373 

Ivory  shavings  boiled  in  your  wort,  or  hartshorn  shavings 
put  into  your  cask  just  before  you  bung  it  down,  will  do  much 
towards  fining  and  keeping  your  liquor  from  growing  stale. 

Isinglass  is  the  most  common  thing  made  use  of  in  fining  all 
sorts  of  liquors  ; they  first  beat  it  well  with  a hammer  or  mallet, 
and  lay  it  in  a pail,  and  then  draw  off  about  two  gallons  of  the 
liquor  to  be  fined  upon  it,  and  let  it  soak  two  or  three  days  ; 
and  when  it  is  soft  enough  to  mix  with  the  liquor,  they  take 
a wisk,  and  stir  it  about  till  it  is  all  of  a ferment,  and  white 
froth  ; and  they  frequently  add  the  whites  and  shells  of  about 
a dozen  egg s,  which  they  beat  in  with  it,  and  put  all  together 
into  the  cask  : then  with  a clean  mop-stick,  or  some  such  thing, 
stir  the  whole  together  ; and  then  lay  a cloth,  or  piece  of  pa- 
per over  the  bung-hole,  till  the  ferment  is  over  ; and  then  bung 
it  up  close,  in  a few  days  it  will  fall  fine. 

But  if  you  want  to  fine  only  a small  quantity,  take  half  an 
ounce  of  unslacked  lime,  and  put  it  into  a pint  of  water,  and 
stir  it  well  together,  and  let  it  stand  for  two  or  three  hours,  or 
till  the  lime  settle  to  the  bottom ; then  pour  the  water  off 
clear,  and  throw  away  the  sediment ; then  take  half  an  ounce 
of  isinglass  cut  small,  and  boil  it  in  the  lime  water  till  it  dis- 
solves ; then  let  it  cool,  and  pour  it  into  the  vessel,  &c. 

Of  recovering  and  preserving  Malt  Liquors . 

Stormy  weather,  but  especially  thunder,  will  greatly  affect 
your  beer,  and  often  ferments  it,  though  brewed  six  months 
before.  In  such  weather  you  should  examine  your  cellar,  and 
draw  your  vent  pegs ; and  where  you  perceive  it  upon  the  fret, 
draw  out  the  bung,  and  let  it  remain  some  days  till  you  are 
sure  it  is  quiet.  Tis  a fault  to  be  too  hasty  in  bunging  up  li- 
quor; it  had  better  be  a week  too  long  out,  than  stop  an  hour 
too  soon.  Were  it  not  for  preserving  the  colour  of  the  liquor, 
some  cherry  brandy  thrown  into  the  bung-hole  would  stop  it 
from  fretting, 

If  your  strong  beer  grows  flat  you  may  quicken  it  by  draw- 
ing off  one  gallon  out  of  every  ten,  and  boil  it  with  as  many 
pounds  of  honey,  as  you  boil  gallons  ; and  when  it  is  cold,  put 
it  to  the  rest  and  stop  it  close. 

A spoonful  of  the  juice  of  the  herb  horehound,  strained  into 
a pitcher  of  stale  beer,  (and  cover  it  close  for  two  hours)  will 
make  it  drink  like  new. 

Or,  if  you  would  bottle  beer  that  is  stale  and  flat,  you 
should  contrive  to  do  it  when  you  have  liquor  working  in  your 
tun  ; and  leave  room  in  every  bottle  to  hold  the  quantity  of  a 
coffee-cup,  and  fill  them  up  with  new  drink  out  of  the  tun, 
and  cork  them,  and  in  three  days  it  will  be  very  brisk,  and 
drink  pleasant ; but  you  must  not  propose  to  keep  it  long,  for 
it  will  burst  the  bottles. 


374  SECRETS  IN  ARTS,  TRADES,  Sec, 

Of  the  Season  for  Brewing. 

The  season  for  brewing  keeping  beer  is  certainly  best  before 
Christmas,  for  then  your  malt  is  in  perfection,  not  having 
time  to  contract  either  a musty  smell,  dust  or  weavels,  (an  in- 
sect that  eats  out  the  heart  of  the  malt)  and  the  waters  are  then 
seldom  mixed  with  snow  ; and  then  four  pounds  of  hops  will 
go  as  far  as  five  in  the  spring  of  the  year : for  you  must  increase 
in  the  quantity  of  hops  as  you  draw  towards  summer.  But, 
in  short,  chuse  moderate  weather  as  much  as  you  can  for  brew- 
ing, and  if  you  have  a kindly  cellar  besides  to  keep  your  liquor 
in,  that  will  not  be  much  affected  by  extremity  of  heat  or  cold, 
you  may  reasonably  expect  great  satisfaction  in  your  brewery. 

Avoid  as  much  as  possible  brewing  in  hot  weather  ; but  if 
you  are  necessitated  to  brew,  make  no  more  than  for  present 
drinking,  for  it  will  not  keep. 

To  make  Elderberry -Beer,  &r  Ebulum. 

Take  a hogshead  of  the  first  and  strong  wort,  and  boil  in 
the  same  one  bushel  of  picked  Elderberries,  full  ripe;  strain 
off,  and  when  cold,  work  the  liquor  in  the  hogshead,  and  not 
in  an  open  tun  or  tub  ; and  after  it  has  lain  in  the  cask  about  a 
year,  bottle  it ; and  it  will  be  a most  rich  drink,  which  they 
call  Ebulum ; and  has  often  been  preferred  to  porDwine,  for 
its  pleasant  taste,  and  healthful  quality. 

N.  B There  is  no  occasion  for  the  use  of  sugar  in  this  o« 
peration  ; because  the  wort  has  strength  and  sweetness  enough 
in  itseit  to  answer  that  end ; but  there  should  be  an  infusion 
of  hops  added  to  the  liquor,  by  way  of  preservation  and  relish. 

Some  likewise  hang  a small  bag  of  bruised  spices  in  the  ves- 
sel. You  may  make  a white  Ebulum  with  pale  malt,  and  white 
Elderberries. 

To  make  improved  and  excellent  wholesome  Purl. 

Take  Roman  wormwood  two  dozen,  gentian -root  six 
pounds ; calamas  aromaticus  (or  the  sweet  flag  root)  two 
pounds  ; a pound  or  two  of  gaflen-gale-root ; horseraddish 
one  bunch;  orange  peel  dried,  and  juniper-berries,  each  two 
pounds  ; seeds  or  kernals  of  Seville  oranges  cleaned  and  dryed, 
two  pounds. 

These  being  cut  and  bruised,  put  them  into  a clean  butt, 
and  start  your  mild  brown,  or  pale  beer  upon  them,  so  as  to 
fill  up  the  vessel,  about  the  beginning  of  November,  and  let 
it  stand  till  the  next  season  j and  make  it  thus  annnally. 


SECRETS  m ARTS,  TRADES,  Sec.  175 

To  brew  Strong  JBecr . 

To  a barrel  of  beer  take  two  bushels  of  wheat  just  cracked 
in  the  mill,  and  some  of  the  Hour  sifted  out  of  it ; when  your 
■water  is  scalding  hot,  put  it  into  your  mash-vat,  there  let  it 
stand  till  you  can  see  your  face  in  it ; then  put  your  wheat 
upon  that,  and  do  not  stir  it ; let  it  stand  two  hours  and  a half; 
then  let  it  run  into  a tub  that  has  two  pounds  of  hops  in  it,  and 
a handful  of  rosemary  flowers;  and  when  it  is  all  run,  put  it 
into  the  copper,  and  boil  it  two  hours  ; then  strain  it  off',  set- 
it  a cooling  very  thin,  and  setting  it  a working  very  cool ; clear 
it  very  well  before  you  put  it  a working  ; put  a little  yeast  to 
it ; when  the  yeast  begins  to  foil,  put  it  into  your  vessel,  put 
in  a pint  of  whole  wheat,  and  six  eggs:  then  stop  it:  Let  it 
stand  a year,  and  then  bottle  it. 

A good  Table-Beer  may  be  made,  by  mashing  again,  after 
the  preceding  is  drawn  off ; then  let  it  stand  two  hours,  and  let 
that  run,  and  mash  again,  and  stir  it  as  before  ; be  sure  to  co- 
ver your  mashing-vat  well ; mix  the  first  and  second  running 
together. 

To  make  China  Ale . 

To  six  gallons  of  Ale,  take  a quarter  of  a pound  or  more  of 
china  root,  thin  fliced,  and  a quarter  of  a pound  of  coriander 
seeds,  bruised  ; hang  these  in  a tiffany,  or  coarse  linen  bag,  in 
the  vessel,  till  it  has  done  working ; and  let  it  stand  fourteen 
days  before  you  bottle ; though  the  common  sort  vended  about 
town,  is  nothing  more  at  best  than  ten  shilling  beer,  put  up  in 
small  bottles,  with  a little  spices,  lemon-peel  and  sugar. 

To  make  Ale , or  any  other  liquor , that  is  too  ?iew,  or 
sweet , drink  stale . 

To  do  this  to  the  advantage  of  health,  put  to  every  quart  of 
Ale,  or  other  liquor,  ten  or  twelve  drops  of  the  true  spirit  of 
salt,  and  let  them  be  well  mixed  together,  which  they  will  soon 
do  it  by  the  subtile  spirits  penetrating  into  all  parts,  and  have 
their  proper  effect. 

To  1 recover  sour  Ale . 

Scrape  fine  chalk  a pound,  or  as  the  quantity  of  liquor  re- 
quires, more  ; put  it  into  a thin  bag  into  the  Ale. 

To  recover  liquor  that  is  turned  bad. 

If  any  liquor  be  pricked  or  fading,  put  to  it  a little  syrup  of 


3?6  SECRETS  IN  A11TS,  TRADES,  &c  . 

clay,  and  let  it  ferment  with  a little  balm,  which  will  recover 
it ; and  when  it  is  well  settled,  bottle  it  up,  put  in  a clove  or 
two,  with  a lump  of  loaf  sugar. 

Directions  for  Bottling . 

You  must  have  firm  corks,  boiled  in  wort,  or  grounds  of 
beer  ; fill  within  an  inch  of  the  cork’s  reach,  and  beat  it  in  with 
a mallet ; then,  with  a small  brass  wire,  bind  the  neck  of  the 
bottle,  bring  up  the  ends,  and  twist  them  over  with  a pair  of 
pinchers. 

Tohnake  a quarter  of  a hogshead  of  Ale , and  a hogshead 
of  Beer , of  coaked  malt . 

Take  five  strike  of  malt  not  ground  too  small : put  in  some 
boiling  water,  to  cover  the  bottom  of  your  mashing-vat,  be- 
fore you  put  in  your  malt : mash  it  with  more  boiling  water, 
putting  in  your  malt  at  several  times,  that  it  may  be  sure  to  be 
all  wet  alike  , cover  it  with  a peck  of  wheat  bran  ; then  let  it 
stand  thus  mashed  four  hours  ; then  draw  off  three  gallons  of 
wort,  and  pour  it  upon  that  you  have  mashed  ; so  let  it  stand 
half  an  hour  more,  till  it  runs  clear  then  draw  off  all  that  will 
run,  and  take  two  quarts  of  it  to  begin  to  work  up  with  the 
balm,  which  must  be  about  a pint  and  a half;  put  in  the  two 
quarts  of  wort  at  three  times  to  the  balm  ; you  need  not  stir  it 
till  you  begin  to  put  in  the  boiled  wort. 

You  will  not  have  enough  to  fill  your  vessel  at  first ; where- 
fore you  must  pour  on  more  boiling  water,  immediately  after 
the  other  has  done  running,  till  you  have  enough  to  fill  a quar- 
ter of  a hogshead  ; and  then  pour  on  water  for  a hogshead  of 
beer. 

As  soon  as  the  ale  wort  has  run  off,  put  a third  part  into  the 
boiler  when  it  boils  up,  take  off  the  skum,  which  you  may 
put  upon  the  grains  for  the  small  beer : when  it  is  skummed, 
put  in  a pound  and  a half  of  hops,  having  first  sifted  out  the 
seeds,  then  put  in  all  the  wort,  and  let  it  boil  two  hours  and  a 
half,  afterwards  strain  into  two  coolers,  and  let  it  stand  to  cool 
and  settle,  then  put  it  to  cool  a little  at  a time,  to  the  balm,  and 
two  quarts  of  wort,  and  beat  it  well  together  : every  time  you 
put  the  wort  in,  be  sure  pou  keep  the  settling  out. 

Suppose  you  brew  early  on  Thursday  morning,  you  may 
tun  it  at  nine  or  ten  on  Saturday  morning. 

Do  not  fill  your  vessel  quite  full,  but  keep  about  three  gal- 
lons to  putin,  when  it  has  worked  twenty-four  hours,  which 
will  make  it  work  again. 

As  soon  as  it  hath  done  working,  stop  it  up  ; put  the  drink 
as  cool  as  you  can  together,  thus  it  will  work  well. 


SECRETS  IN  ARTS,  TRADES,  he. 


TO 

To  make  Treacle-Beer . 

Boil  two  quarts  of  water,  put  into  it  one  pound  of  treacle 
or  molasses,  stir  them  together  till  they  are  well  mixed  ; then 
put  six  or  eight  quarts  of  cold  water  to  it,  and  about  a tea 
cup  full  of  yeast  or  balm,  put  it  up  in  a clean  cask  or  stein, 
cover  it  over  with  a coarse  cloth,  two  or  three  times  double,  it 
will  be  fit  to  drink  in  two  or  three  days. 

The  second  and  third  time  of  making,  the  bottom  of  the 
first  Beer  will  do  instead  of  yeast. 

If  you  make  a large  quantity,  or  intend  it  for  keeping,  you 
must  put  in  a handful  of  hops  and  another  of  malt,  for  it  to 
feed  on,  and  when  done  working,  stop  it  up  close. 

The  above  is  the  best  and  cheapest  way  of  making  treacle 
Beer,  though  some  people  add  raisins,  bran,  wormwood,  spices, 
such  Fruit,  Sc c.  as  are  in  season,  but  that  is  just  as  you  fancy  . 

Indeed  many  pleasant,  cheap,  and  wholesome  drinks  may  be 
made  from  Fruits,  8c c.  if  they  are  bruised  and  boiled  in  water, 
before  the  Treacle  is  added. 


ON  TANNING 


ANNIN G is  the  art  of  converting  the  raw  skins  of  animals, 
JL  into  leather.  As  the  methods  of  tanning  in  general  use 
have  been  found  tedious  and  expensive  in  their  operation,  va- 
rious schemes,  at  different  times,  have  been  suggested  to  shor- 
ten the  process  and  lessen  the  expence. 

Much  light  has  been  thrown  by  modern  chemists  upon  the 
theory  of  Tanning.  M.  Seguin,  in  France,  has  particularly 
distinguished  himself  by  his  researches  on  this  subject,  and 
much  improved  the  art  in  his  country. 

A few  years  since  W.  Lesmond  obtained  a patent  for  practi- 
sing Seguins  method  in  England.  He  obtained  the  Tanning 
principle  by  digesting  oak  bark,  or  other  proper  materials,  in 
cold  water,  in  an  apparatus  nearly  similar  to  that  used  in  the 
salt-petre  works.  That  is  to  say,  the  water  which  has  remain- 
ed upon  the  powdered  bark  acertain  time  in  one  vessel,  is  drawn 
off  by  a cock,  and  poured  upon  fresh  tan.  This  is  again  to  be 
drawn  off,  and  poured  upon  fresh  tan  ; and  in  this  way  the 
process  to  be  continued  to  the  fifth  vessel.  The  liquor  is  then 
highly  coloured,  and  marks  from  six  to  eight  degrees  upon  the 
hydrometer  for  salts.  This  he  calls  the  tanning  lixivium.  The 
criterion  for  ascertaining  its  strength,  is  the  quantity  of  the  so- 
lution of  gelatine  which  a given  quantity  of  it  will  precipi- 
tate. Isinglass  is  used  for  this  purpose,  being  entirely  compo- 
sed of  gelatine.  And  here  it  may  be  observed,  that  this  is  the 
mode  of  ascertaining  the  quantity  of  tanning  principle  in  any 
vegetable  substance,  and  consequently  how  far  they  may  be  used 
as  a substitute  for  oak  bark. 

The  hides,  after  being  prepared  in  the  usual  way,  are  immer- 
sed for  some  hours,  in  a weak  tanning  lixivium  of  only  one  or 
two  degrees ; to  obtain  which,  the  latter  portions  of  the  infu- 
sions are  set  apart,  or  else  some  of  that  which  has  been  partly 
exhausted  by  use  in  tanning.  The  hides  are  then  to  be  put 
into  a stronger  lixivium,  where,  in  a few  days,  they  will  be 
brought  to  the  same  degree  of  saturation  with  the  liquor  in 
which  they  are  immersed.  When  the  hides  are  by  this  means 
completely  saturated,  that  is  to  say,  perfectly  tanned,  they  are 
to  be  removed,  and  slowly  dried  in  the  shade. 

The  length  of  time  necessary  to  tan  leather  completely,  ac- 
cording to  the  old  process,  is  a very  great  inconvenience ; and 
there  is  no  doubt  but  that  it  may  be  much  shortened  by  follow- 
ing the  new  method.  It  has  been  found,  however,  that  the 


SECRETS  IN  ARTS,  TRADES,  &c.  37 9 

leather  so  tanned,  has  not  been  so  durable  as  that  which  has 
been  formed  by  a slower  process. 

The  public  is  much  indebted  to  Mr.  Davy,  professor  of  che- 
mistry in  the  Royal  Institution,  for  the  attention  he  has  paid  to 
the  subject.  From  his  excellent  paper  u on  the  constituent 
parts  of  astringent  vegetables,”  in  the  philosophical  transac- 
tions, we  present  the  reader  with  the  following  extract : 

“ The  different  qualities  of  leather  made  with  the  same  kind 
of  skin,  seem  to  depend  very  much  upon  the  different  quanti- 
ties of  extractive  matter  it  contains.  The  leather  obtained  by 
means  of  an  infusion  of  galls,  is  generally  found  harder,  and 
more  liable  to  crack,  than  the  leather  obtained  from  an  infusion 
of  bark  ; and  in  all  cases  it  contains  a much  larger  proportion 
of  tannin,  and  a smaller  proportion  of  extractive  matter. 

((  When  skins  are  very  slowly  tanned  in  weak  solutions  of  the 
barks,  or  of  catechu,  it  combines  with  a considerable  propor- 
tion of  extractive  matter ; and  in  these  cases,  though  the  in- 
crease of  weight  of  the  skin  is  comparatively  small,  yet  it  is 
rendered  perfectly  insoluble  in  water,  and  is  found  soft,  and  at 
the  same  time  strong.  The  saturated  astringent  infusions  of 
bark  contain  much  less  of  extractive  matter  in  proportion  to  the 
tannin,  than  the  weak  infusions;  and  when  skins  are  quickly 
tanned  in  them,  common  experience  shews  that  it  produces 
leather  less  durable  than  the  leather  slowly  formed. 

u Beside^  in  the  case  of  quick  tanning  by  means  of  infusions 
of  bark,  a quantity  of  vegetable  extractive  matter  is  lost  to  the 
manufacturer,  which  might  have  been  made  to  enter  into  the 
composition  of  his  leather  by  a slower  process.  These  obser- 
vations shew,  that  there  is  some  foundation  for  the  common 
opinion  of  workmen,  concerning  what  is  called  in  technics! 
language,  the  feeding  of  leather  in  the  slow  method  of  tanning  ; 
and  though  the  processes  of  the  art  may,  in  some  case?,  he 
protracted  for  an  unnecessary  length  of  time,  yet,  in  genera!, 
they  appear  to  have,  by  means  of  repeated  practical  experi- 
ments, arrived  at  a degree  of  perfection  which  cannot  be  very 
far  extended  by  means  of  any  elucidations  of  theory  that  have 
as  yet  been  known.” 

It  was  first  suspected  by  Sir  Joseph  Banks,  and  afterwards 
confirmed  by  the  experiments  of  professor  Davy,  that  a sub- 
stance called  catechu  or  terra -japonica,  brought  from  the  East 
Indies,  contained  a vast  quantity  of  tannin  ; so  much  so,  that 
it  far  excels  every  other  known  substance  in  this  respect.  One 
pound  of  catechu  contains  as  much  tannin  as  eight  or  ten 
pounds  of  oak  bark,  and  would  consequently  tan  proportion- 
ately as  much  more  leather.  It  is  an  extract  made  from  the 
wood  of  a species  of  mimosa,  by  decoction  and  subsequent 
evaporation. 

Oak  bark  being  a very  expensive  article  in  the  process  of 


380 


SECRETS  IN  ARTS,  TRADES,  &c. 


tanning,  various  substances  have  been  proposed  as  substitutes 
for  it.  All  the  parts  of  vegetables  which  are  of  an  astringent 
nature,  contain  tannin  (which  may  be  known  by  their  giving 
precipitates  with  gelatine,  insoluble  in  water,)  and  will  answer 
this  purpose.  The  leaves,  branches,  fruit,  flowers,  of  a vast 
number  of  plants ; every  part  of  the  oak,  as  the  leaves  and 
acorns,  oak  saw-dust,  and  the  barks  of  most  trees  contain  more 
or  less  or  of  tannin. 

Oj  Currying . 

Currying  is  the  art  of  dressing  cow-hides,  calves-skins,  &c. 
The  principal  object  in  this  process,  is  to  soften  and  suple  cow 
and  calf-skins,  which  are  usually  employed  in  making  the  up- 
per-leathers of  shoes  and  boots,  the  covers  of  saddles,  coaches, 
&c.  As  soon  as  these  skins  are  brought  from  the  tanner’s  yard 
the  currier  first  soaks  them  for  some  time  in  common  water, 
when  he  takes  them  out,  stretches  them  on  a smooth  wooden 
horse,  scrapes  off  with  a paring-knife  all  the  superfluous  flesh, 
and  immerses  them  again.  They  are  next  put  on  a wet  hurdle, 
and  trampled  with  the  heels  till  they  become  soft  and  pliant, 
when  they  are  steeped  in  train-oil,  and  afterwards  spread  out  on 
large  tables,  and  their  ends  tightly  secured.  Then  by  means 
of  a pummel  (an  instrument  consisting  of  a thick  piece  of 
wood,  the  lower  side  of  which  is  full  of  furrows  or  teeth,  cros- 
sing each  other,)  the  currier  folds,  squares,  and  moves  the 
skins  in  various  directions,  to  render  them  supple.  This  ope- 
ration is  properly  called  currying ; and,  with  a few  immaterial 
exceptions,  is  that  now  generally  followed. 

After  the  skins  are  thus  dressed,  they  are  coloured,  black, 
white,  red,  green,  & c.  which  process  is  performed  either  on 
the  flesh  or  grain  side.  When  a skin  is  to  be  made  white,  rub 
it  with  chalk,  or  white-lead,  and  afterwards  with  pumice  stone. 
But  when  a black  colour  is  wanted,  the  skin  must  be  first  oiled 
and  dried,  then  passed  over  a puff,  dipped  in  water  impregna- 
ted with  iron,  when  it  is  immersed  in  another  water  prepared 
With  soot,  vinegar,  and  gum-arabic.  Thus  it  gradually  ac- 
quires a deep  dye,  and  the  operations  are  repeated  till  it  be- 
comes of  a shining  black.  The  grain  and  wrinkles  which  con- 
tribute to  the  pliancy  of  calves  and  cows  leather,  are  made  by 
the  reiterated  folds  given  to  the  skin  in  every  direction,  and  by 
the  great  care  taken  to  scrape  off  every  excrescence  and  hard 
place  on  both  the  grain  and  flesh  sides. 


INDEX 


CHAP  I. 

Of  the  Art  of  Engraving. 

Art.  Page 

1.  A wax  to  lay  on  iron  or  steel  5 

2.  JL  jL  A mordant  water  to  engrave  on  steel  . 5 

3.  To  engrave  with  aquafortis,  so  that  the  work  may  ap- 

pear like  a basso  relievo  ...  6 

4.  Aquafortis  for  engraving  . , . 6 

5.  To  engrave  on  brass,  or  copper  with  aquafortis  . 7 

6.  To  engrave  prints  by  aquafortis  . . 7 

7.  The  method  of  engraving  with  aquafortis  . 7 

8.  To  engrave  on  wood  ....  9 

9.  To  engrave  on  copper  with  the  graver  . . 10 

CHAP.  II. 

Of  Metals. 

1.  Transmutation  of  iron  into  the  finest  German  steel  IX 

2.  To  refine  pewter  . . . . H 

3.  Method  of  tempering  edge  tools  that  are  of  too  brittle 

a quality  .....  11 

4.  To  make  pewter  . . . . 11 

5.  To  make  pinchbeck  . . . . 11 

6.  On  zinc,  or  spelter,  and  its  various  uses  12 

7.  To  make  blue  letters  on  polished  sword  blades  12 

8.  Method  of  giving  a lustre  to  silver  . . 12 

9.  To  extract  mercury  from  lead  ...  12 

10.  To  preserve  the  brightness  of  arms  . 13 

M.  To  operate  the  transmutation  of  iron  into  steel  . 13 

12.  Another  receipt  for  the  same  ...  13 

13-  To  give  iron  a temper  to  cut  porphyry  . 14 

14.  To  soften  all  sorts  of  metals  ...  14 

15  A very  hard  temper  for  arms  . , . 14 

16.  Ingredients  which  serve  to  the  melting  of  iron  . 15 

17.  To  refine  pewter  . . . 15. 

18.  To  fix  mercury  .....  15 

19.  To  extract  mercury  from  lead  . . . 15 

20.  The  composition  of  metalic  mirrors,  or  looking-glasses 

used  among  the  ancients.  ...  15 

21.  To  give  tools  such  a temper,  as  will  enable  them  to 

saw  marbJe  .....  1§ 

22.  To  soften  iron,  and  harden  it  afterwards  more  than  it 

was  before  . . . . . 16 

23  The  transmutation  of  iron  into  damask  steel  17 

24.  To  guard  iron  against  rusting  . 17 

K k 2 


INDEX. 


Art.  Page 

«5.  To  cut  pebbles  with  ease  . * , 17 

^6.  A projection  on  copper  If 

^7.  The  preparation  of  emery  ...  17 

To  dye  in  gold,  sliver  medals,  or  laminas,  through  and 

through  . . . . . 18 

29.  To  solder  iron,  or ‘any  other  metal  without  fire  . 19  ■ 

30.  To  solder  with  fire  : . . . . 19 

31.  To  make  borax  . . . . . 19  ^ 

32.  To  render  iron  as  white  and  beautiful  as  silver  • 20 


33.  To  calcine  pewter,  arid  render  it  as  white  and  hard  as 

silver  .....  20 

34.  To  whiten  brass  .....  20 

35.  To  extract  gold  from  silver  ...  20 

CHAP.  III. 

Of  the  Composition  of  Varnishes,  &c. 


1.  A gold  varnish  .....  21 

2.  How  to  prepare  the  lintseed  oil  with  the  hepatica  aloes 

for  the  above  purpose  . . . 22 

3-  How  to  draw  the  tincture  of  rocou  used  in  the  com- 

position  of  the  above  varnish  . . . 22 

4.  A varnish  for  icing  . . . . 22 

5.  An  excellent  varnish  ....  22 

6 For  colouring  and  preserving  gates,  poles,  barns,  &.C.  22 

7.  A red  varnish  . . . . 23 

8.  A black  varnish  . . . . 23 

9.  To  make  ivory  black  for  the  above  purpose  . 23 

10.  A varnish  for  floors.  ....  24 

11.  A varnish  from  Flanders  ....  24 

12.  A varnish  to  lay  on  canvass  sashes  . . 24 

13.  A varnish  of  shell-lac  for  pictures  ...  24 

14.  Another  varnish  for  pictures  ...  24 

15.  Another  sort  .....  24 

16.  The  Chinese  varnish  ....  24 

17.  To  imitate  jasper,  or  variegated  black  marble  . 25 

18.  Another  way  . . . . 25 

19.  An  excellent  varnish  to  give  a fine  gloss  to  jasper  or 

variegated  black  marble  ...  25 

20.  A varnish  which  dries  in  two  hours  time  . . 25 

21.  A varnish  for  copperplate  prints  . . . 26 

22.  An  admirable  varnish  . . . . 26 

23  A varnish  fit  to  lay  on  all  sorts  of  colours  . . 26 

24.  A varnish  known  under  the  appellation  of  Beaume- 

blanc,  or  white  balm  ....  26 

25.  A varnish  to  be  used  on  plaister,  and  any  other  sort  of 

materials  .....  27 

26.  An  excellent  varnish,  in  which  may  be  put  and  dilu- 

ted, whatever  colour  you  like. — It  suits  equally 
well,  goldsmith’s  and  limners.  ...  27 


INDEX. 


Art. 

27.  A Chinese  varnish  suitable  to  all  sorts  of  colours  . 

28.  Chinese  varnish,  more  particularly  calculated  for  mini - 

ture  painting*  ..... 

29.  How  to  make  a red,  with  a varnish  of  a much  higher 

hue  than  coral  itself  . . . 

30.  To  make  it  gridiin  colour  .... 

■31.  To  make  it  green  ..... 

32-  Another  way  for  the  same  , . . . 

33.  To  make  it  yellow 

34.  To  make  it  blue  ..... 

35.  Another  sort  of  varnish  .... 

36.  A transparent  varnish  fit  for  all  sorts  of  colours 

37.  To  make  sashes  with  cloth,  which  will  be  very  trans- 

parent. 

38.  The  varnish  fit  for  the  above  sashes 

39.  A fine  white  varnish 

40.  A varnish  to  prevent  the  rays  of  the  sun  from  passing 

through  the  panes  of  window  glasses 

41.  To  raise  a relief  on  varnish 

42.  To  render  silk  stuffs  transparent,  after  the  Chinese 

manner  ; and  paint  them  with  transparent  colours 
likewise,  in  imitation  of  the  India  manufactured 
silks  ...... 

43.  To  make  a transparent  blue  hue  for  the  above  purpose 

44.  To  make  a transparent  yellow  hue  for  the  same  use 

45.  To  make  a transparent  green 

46.  To  give  the  abovementioned  painted  silks,  all  the  smell 

and  fragrancy  of  the  India  ones  . 

47.  The  true  receipt  of  the  English  varnish,  such  as  is  laid 

on  sticks  and  artificial  made  canes 

48.  A fine  varnish  for  all  sorts  of  colours 

49.  A varnish  to  lay  on  after  the  isinglass 

50.  A varnish  to  gild  with,  without  gold 

51.  A varnish  water  proof  .... 

52.  Callot’s  varnish  mentioned  in  chap.  I.  p.  5. 

53.  A varnish  to  lay  on  paper  .... 

54.  Another  varnish  ..... 

55.  L’Abbe  Mulct’s  varnish  .... 

56.  A varnish  to  lay  over  plaister-works  or  figures 

57.  A very  fine  red  varnish  .... 

58.  A varnish  to  gild  certain  parts  of  stamped  leathers,  sil- 

vered in  some  places  with  pewter  leaves,  and  other- 
wise adorned  with  running  stalks  of  flowers,  various 
colours,  figures,  and  other  sorts  of  embellishments 

59.  An  excellent  varnish  ... 

60.  A curious  and  easy  varnish  to  engrave  with  aquafortis 

61.  A most  beautiful  Chinese  varnish  . 

62.  A varnish  to  render  transparent  the  impression  of  a 

print  which  has  been  glued  on  glass,  and  the  paper 
scratched  off  . 

63,  The  varnish  fit  for  bronzing  , 


Page 

27 

27 

28 
28 
28 
28 
28 
28 
28 
28 

29 

29 

29 

30 
30 


30 

31 

31 

31 

31 

32 

32 

33 
33 

33 

34 

35 
35 
35 
35 
35 


36 

36 

37 
37 


37 


INDEX. 

CHAP.  IV. 

Of  Mastichs,  Cements,  Sealing-wax,  &c. 


Art.  Page 

1.  A subtile  mastich  to  mend  all  sorts  of  broken  vessels  38 

2.  A mastich  for  broken  wares  ...  38 

3.  Another  mastich  . • . . . . 38 

4.  A cement  ......  38 

5.  A glue  to  lay  upon  gold  . ...  39 

6.  A size  . . . . . 39 

7.  An  exceeding  good  size,  called  Orleans  size  . 39 

8.  A cement  for  delph  and  other  earthen  wares,  which  re- 

sists water  .....  39 

9.  A cold  cement  for  cisterns  and  fountains  . . 39 

10  A lute  to  join  broken  vessels  ...  39 

11.  A strong  glue  with  soft  cheese  ...  40 

12  To  make  a strong  mastich  ...  40 

13  Sealing  wax  ; Recipe  1st  . . . . 40 

14.  Another  sealing  wax : Recipe  2d  . . 40 

15.  Another.  Recipe  3d  ....  40 

16.  Another.  Recipe  4th  ....  41 

17.  Another.  Recipe  5th  ....  41 

18.  Another.  Recipe  6th.  ....  41 

19.  Another.  Recipe  7th.  Excessively  good  . . 41 

20.  Another.  Recipe  8th  ....  42 

21.  An  excellent  sealing  wax,  by  GIrardot.  Recipe  9th  42 

22.  A colour  for  the  above  wax  42 

23.  To  make  sealing  wafers  ....  42 


CHAP.  V. 

Of  Glass  Manufactory,  and  the  making  Com- 
positions to  imitate  Precious  Stones,  com- 
monly called  French  Paste. 

1.  A cement  to  render  crystal  like  diamonds,  and  give  the 


sapphires  of  Alenson  a hardness  to  cut  glass  with  ease  43 

2.  A way  of  making  diamonds  ...  43 

3.  To  soften  crystal,  or  any  other  coloured  stone,  so  that 

you  may  cut  it  like  cheese,  and  restore  it  afterwards 
to  its  primary  hardness  ...  43 

4.  Another  equally  useful  to  soften  crystal  and  steel  . 44 

5.  A paste  which  will  procure  as  beautiful  emeralds  as  na- 

tural ones  . . . . .44 

6.  A composition  the  fundamental  basis  of  ail  enamels  44 

7.  To  make  an  enamel  as  white  as  milk  . . 45 

8.  To  make  an  enamel  turquoise  colour  . . 45 

9.  How  to  prepare  the  scories  of  copper  for  the  above  pur- 

pose ......  46 

10.  To  make  blue  enamel  ....  46 


INDEX. 


Art.  Page 

11.  To  make  green  enamel  . . . 4,5 

12.  To  make  a black  shining  enamel  ...  47 

13.  To  make  an  enamel,  purple  colour  ...  47 

14.  Another  ......  47 

15.  A yellow  enamel  .....  47 

16.  To  make  a crystalline  matter  which  serves  as  a basis  to 

red  colour  enamels  ^ ..  . 47 

17.  How  to  make  a fine  preparation  of  Fusible  Magnesia  to 

be  employed  in  the  making  of  red  enamel  . 48 

18.  To  make  red  enamel  of  a beautiful  ruby  hue  . 49 

19.  To  make  an  enamel,  true  Balais  ruby  colour  . 49 

20.  To  make  a bright  enamel,  escarboucle  colour  » 49 

21.  To  make  transparent  frames  ...  49 

22.  To  make  a frame  look  as  if  made  of  glass  . 50 

23.  A white  paint  to  preserve  the  putty  round  the  panes  of 

glass  ......  50 

24.  To  clear  glass  .....  50 

25.  How  to  distinguish  a true  from  a false  stone  . 50 


CHAP.  VI. 


Concerning-  Colours  and  Painting. 

§ I.  To  paint  hi  varnish  on  wood.  (Useful  to  carriage 
Painters.) 

1.  The  preparations  previous  to  the  laying  of  colours,  and 

the  general  process  observed  in  laying  them  on  it  51 

2.  To  make  a black  .....  51. 

3.  To  make  a blue  .....  51 

4.  To  make  the  Gridelin  . . . . 52 

§ II.  To  Paint  on  Paper. 


5.  For  the  red  .....  52 

6.  To  make  a fine  yellow  ....  52 

7.  To  make  a green  .....  52 

8.  To  transfer  a print  on  vellum,  and  then  print  it  . 52 


§ HI.  Composition  for  Limners . 

9.  How  to  prepare  colours  for  limning 

10.  To  make  what  is  called  lamp-black 

11.  Another  way  of  making  black 

12.  To  make  a blue  .... 

13.  To  make  atarquin  blue 

14.  A fine  green  for  limning 

15.  Another  for  the  same  purpose 

16.  To  make  Sap-green,  or  blackberry  green 

17.  To  make  lake  .... 

18.  To  make  a liquid  lake 

19.  Another  way  .... 

20.  For  the  vermiliion  ... 


52 

53 
53 
53 
53 
53 
53 
53 

53 

54 
54 
54 


INDEX. 


Art.  Page 

21.  For  the  making*  of  carmine  ...  54 

22.  Colours  fit  for  expressing’  the  various  complexions  . 55 

§ IV.  To  make  transparent  colours, 

23.  For  the  green  : . . . 55 

24.  For  the  red  . . . . 55 

25.  For  the  yellow  . . . . 55 

26.  For  the  blue  .....  55 

27-  Another  blue,  very  like  ultramarine  . . 55 

28  A pale  red  to  paint  on  enamel  ...  56 

29«  Process  of  making  purple  for  painting  on  enamel  . 56 

30-  How  to  make  a fine  flesh  colour  . . r 5.7 

31-  A good  way  to  make  carmine  . . . 57 

32-  For  an  amber  colour  ....  57 

33-  The  whole  process  of  making  ultramarine  . 57 

34-  Another  very  fine  ultramarine  . . . 58 

55.  Another  secret  to  compose  a fine  blue,  for  washing  in 

drawings,  instead  of  ultramarine,  which  is  too  dear 
and  too  strong  to  be  used  for  that  purpose  . 58 

36.  The  true  secret  of  making  Ir$  green  . . 59 

37.  To  make  a dark  green  for  miniature  pictures,  washing 

on  paper,  or  draperies  and  terraces  . . 59 

38.  To  make  the  bistre  for  the  wash  ...  60 

39.  The  secret  for  a fine  red  for  the  wash  . . 60 

40.  A secret  to  make  carmine  at  a small  expence  . 60 

§ V;  Comfiosition  of  colour  a to  dye  aklna  or  gloves* 

41.  A lively  Isabel  . . . ' . . 61 

42-  For  a pale  filbert  colour  . , . . 61 

4'k  For  the  gold  colour  , . , . 61 

44.  For  the  flesh  colour  . , . , 61 

45.  For  the  straw  colour  . . . 61 

46.  A fine  brown  . . ...  . 61 

47.  To  make  a fine  musk  colour  , . . 61 

48.  To  make  a frangipane  colour  ...  62 

49 . An  olive  colour  .....  6- 

50  How  to  make  skins  and  gloves  take  these  dyes  . 62 

5p  To  varnish  a chimney  . . . . 62 

§ VI.  To  colour  or  varnish  Copperplate  Prints . 

52.  To  varnish  copperplate  prints  . . . 62 

53.  How  to  colour  these  prints,  in  imitation  of  pictures  in  oil 

colours  . . . . . . 63 

54.  A varnish  which  suits  all  sorts  of  prints  and  pictures, 

stands  water,  and  makes  the  work  appear  as  shining 
as  glass  .....  63 

55.  To  make  appear  in  gold,  the  figure  of  a print  . 64 

56.  A curious  secret  to  make  a print  imitate  the  painting  on 

glass  » ....  64 


mm  t. 


Art..  ^ ^ Page 


67.  The  method  of  elialking  for  those  who  are  not  acquaint- 
ed with  drawing  . . . . 65 

58.  To  prepare  a transparent  paper  to  chalk  with  . 65 

§ VII.  Forf minting  on  glass. 

59.  How  to  draw  on  glass  . . . . 66 

60.  A colour  for  grounds  on  glass  . , 66 

61-  Preparations  of  lake  for  glass  . . ^ 67 

6^.  Preparation  of  the  blue  purple,  for  glass  . . 67 

63.  Preparation  of  the  green,  for  glass  . . 67 

64.  Preparation  of  the  yellow  for  the  same  , . 67 

65.  Preparation  of  the  white  ....  67 

66.  The  proper  varnish  to  be  laid  on  glass  after  painting  67 

67.  How  to  paint  on  glass  without  fire  ...  67 


§ VIII.  Preparations  of  colours  of  all  sorts  for  oil , wa- 
ter , and  crayons. 


68.  An  oil  to  grind  colours  with,  when  the  works  are  much 

exposed  to  the  injuries  of  the  weather  . 

69.  To  marble  and  jasper  paper 

70.  To  clean  pictures  ..... 

71.  Another  for  the  same  purpose 

72.  A secret  to  render  old  pictures  as  fine  as  new 

i;  73.  An  oil  to  prevent  pictures  from  blackening — It  may  serve 
also  to  make  cloth  to  carry  in  the  pocket,  against 
wet  weather  ..... 

! 74.  A wash  to  clean  pictures  .... 

: 75.  A very  curious  and  simple  way  of  preventing  flies  from 
sitting  on  pictures,  or  any  other  furniture,  and  mak- 
ing their  dung  there  .... 

| 76.  To  make  indigo  .... 

1 57.  To  make  a yellow  ..... 

78.  An  azure  of  mother  of  pearl 

79.  A white  for  painters  which  may  be  preserved  for  ever 
| 80.  Another  white  for  ladies’ paint 

81.  A good  azure  ..... 

- 82.  An  azure  from  silver,  done  in  less  than  a fortnight  . 

83,  To  make  an  azured  water  .... 

84.  Another  way  of  making  azure 

8 5.  A fine  azure  . 

86.  Another  way  ..... 

| 87.  Another  way  . . • • • 

i 88.  To  make  an  admirable  white  lead,  fit  for  oil-painting  and 
colouring  of  prints  .... 

89.  The  preparation  of  verdi grease 

90.  A fine  liquid  green  • 

9l  To  make  the  Stil  de-grain , or  brown  pink 

92.  To  make  a fine  vermilion  ■ 

93.  A secret  to  draw  without  either  ink  or  pencil 

94  'Pq  make  an  imitation  of  enamel  on  tin,  tor  cnimney-bran- 
ches,  Sic.  ? ' 


68 

68 

68 

69 

69 


69 

69 


69 

70 
70 
70 
70 

70 

71 
71 
71 

71 

72 
72 

72 

7-2 

73 
73 
73 
73 
73 

73 


INDEX. 


Ari.  Page 

95.  A valuble  secret  to  make  exceeding  good  crayons,  as 

hard  as  red  chalk.  Discovered  by  Prince  Rupert, 
brother  to  Prince  Palatine  ...  74 

96.  To  render  ehe  stone-cinnabar  and  vermilion  finer,  and  at 

the  same  time  to  prevent  them  from  blackening  74 

97  Process  used  in  making  Eastern  carmine  . . 74 

98  The  process  observed  in  making  the  lake  76 

99.  To  make  the  fine  columbine  lake  . . 77 

100.  A fine  red  water  for  miniature  painting  . . 78 

101  The  receipt  for  the  fine  Venetian  lake  . . 78 

102.  Directions  for  colouring  prints  ...  79 

103.  Directions  for  the  mixture  of  colours  . . 80 

104.  Directions  for  painting  fresco  ...  80 

106.  Directions  for  the  choice,  use,  and  composition  of  the 

colours  employed  for  the  above  purpose.  . 81 

106.  Directions  for  painting  in  oil  on  a wall.  Method  1 82 

107.  Method  2 . . . . . . 83 

3O8.  Method  3 . . . . . . 83 

109.  Directions  for  painting  in  oil  on  wood  83 

1 1 0.  Directions  for  painting  in  oil  on  canvass  83 

111.  Which  colours  are  used  for  the  above  purpose  - 85 

112.  Which  oils  are  used  in  painting  86 

1 13.  To  take  off  instantly  a copy  from  a print,  or  a picture  87 

114.  Directions  for  making  the  Spanish  carnation  - 87 

115.  To  make  the  Spanish  ladies  rouge  87 

H6.  A fine  lake  made  with  shell-lac’"  - - - 88 

4 17.  Directions  to  make  cinnabar,  or  vermilion  - 88 

l-1 8.  Another  method  of  making  cinnabar  89 

H9.  An  azure  as  fine  as,  and  which  looks  similar  to  ultrama- 
rine - - - - - 90 

120.  The  same  as  practised  in  Germany  .•  - 90 


§ IX,  Preparations  of  tfie  lapis  lazuli  to  make  ultramarine . 


121.  1st.  The  general  manipulation  of  the  whole  process: 

each  single  part  of  which  shall  be  treated  of  in  parti- 
cular afterwards  90 

122.  2d.  Directions  to  be  observed  in  the  process  of  prepar- 

ing the  strong  cement,  in  which  the  lapis  lazuli  is  to 
be  incorporated,  to  draw  afterwards  the  azure  from  it  92 

123.  Another  cement  of  a softer  nature  - - 93 

124.  Directions  to  prepare  and  purify  the  lintseed  oil  for  the 

azure  - - - - * 93 

125.  The  lye  to  wash  the  ultramarine  with  - 94 

126.  Another  sort  of  lye  for  the  same  purpose  - - 95 

127.  Directions  for  the  choice  of  the  vessels  in  which  the 

most  impure  ultramarine  is  to  be  washed,  &c.  - 95 

128.  Observations  for  discerning  the  good  or  bad  qualities 

of  the  lapis  lazuli,  from  which  you  intend  to  compose 
ultramarine  -----  96 

129.  The  method  of  calcining,  and  preparing  the  lapis  lazuli 

in  order  to  grind  it  afterwards  96 


INDEX. 


Art.  . _ Page 


130.  Directions  for  making  the  liquor  fit  to  grind  the  lapis 

with,  in  order  to  make  the  ultramarine  - - 97 

131.  The  method  of  grinding  the  lapis  lazuli  on  porphyry, 

and  the  signs  which  attend  it  - - 98 

132.  The  method  of  incorporating  the  grinded  lapis  lazuli, 

with  either  of  the  strong  or  soft  cements  - 99 

133.  Directions  for  extracting  the  azure  out  of  the  cement  99 

134.  Observations  on  the  colours  of  the  azures  at  their  com- 
ing out  of  the  cement,  and  the  signs  which  attend  them  100 

135.  The  washing  and  purifying  of  the  azures  after  they  are 

got  out  of  the  cement  - - - - 101 

136.  Another  way  of  purifying  the  samp  - - 102 

137.  Another  secret  for  puriiying  azures  - - 102 

138.  How  to  run  the  azures,  after  having  been  thus  cleansed, 

washed  and  purified  - - - - 102 

139.  The  method  of  making  the  green  azure  - 102 

140-  A very  fine  method  for  marbling  paper  - - 103 

141.  Another  method  - - - - 103 

142.  How  to  prepare  a transparent  paper  to  chalk  with  104 


CHAP.  VII. 

Relative  to  the  Art  of  Gilding. 

I . The  method  of  gilding  with  size  or  oil 

% To  gild  with  size,  or  what  is  called  burnish  gold  - 

3.  To  gild  with  gold  - 

4.  Another  to  the  same  purpose 

5.  A gold  without  gold  - 

6.  The  preparations  of  the  gum-water 

7.  To  w rite  in  gold  or  silver  - 

8-  To  gild  on  glasses,  earthen,  or  china  wares 
9.  To  write  or'paint  in  gold  colour  - - - 

10-  To  write  or  paint  in  silver,  especially  with  a pencil 

I I . To  whiten  and  silver  copper  medals 

12.  To  write  in  gold  letters  on  pots  or  boxes  - 

13.  To  gild  silver  in  water-gilding  without  the  assistance  of 

14.  The  sauce  which  is  to  be  used  for  colouring  silver  plates 

gilt  with  the  above  described  powder  - 

15.  A water  which  gilds  copper  and  bronze.  A secret  very 

useful  for  watch  and  pm-makers 

16.  Another  - „ “ ' “ , 

17.  To  gild  steel  or  iron,  after  being  well  polished  - 

18.  To  silver  copper  figures  - 

19.  To  silver  or  gild  pewter  - - - “ . 

20.  A composition  to  lay  on  lead,  tin,  or  any  other  in 

order  to  hold  fast  the  ready  gilt  leaves  of  pewter 
which  are  applied  on  it ; useful  for  gilding  on  high 
steeples,  domes,  &c.  - 

21.  To  clean  and  whiten  silver 


1 05 
105 
109 
109 

109 

110 
110 
110 
110 
no 
no 
m 

111 

112 

112 

112 

112 

113 

113 


113 

114 


INDEX. 


Art 

22. 

23. 

24. 

25. 

26. 

27. 

28. 

29. 

30. 

31. 

32. 

33. 

34. 
* 35. 

36. 

37. 

38. 

39. 

40. 

41. 

42. 

43. 

44. 

45. 
46 
v7* 


- ^ Page 

The  preparation  of  gold  in  shell  - - - 114 

To  bronze  in  gold  colour  - ..  . ib. 

How  to  matt  burnished  gold  - - ib. 

How  to  do  the  same  to  burnished  silver  - ib. 

The  method  of  applying  gold,  or  silver  in  shell  on  the 
wood  - - . . - 115 

To  gild  sandy  gold  - - ib. 

The  varnish  fit  to  be  laid  on  gilding  and  silvering  ib. 

The  method  of  bronzing  ....  ib. 

A water  to  gild  iron  with  - - - - ib . 

To  make  the  fine  writing  gold  - - - 116 

How  to  get  the  gold  or  silver  out  of  gilt  plates  - ib. 

To  gild  paper  on  the  edge  - ib. 

To  gild  on  vellum  ....  ib. 

Another  way  - - - - - 117 

Another  way  - - ' ” - . - ib. 

A gilt  without  gold  ....  ib. 

To  gild  without  gold  ....  ib. 

To  gild  on  calf  and  sheep  skin  - - - ib- 

Gold  and  silver  in  shell  - ib. 

To  gild  marble  - - - - - 118 

To  apply  gold  on  glazed  wares,  crystal,  glass,  china,  &c.  ib. 
Matt  gold  in  oil  - - - - ib. 

To  dye  any  metal,  or  stone,  gold  colour,  without  gold  ib. 
To  whiten  copper  ....  - ib. 

To  whiten  silver  without  the  assistance  of  fire  - ib. 

To  whiten  iron  like  silver  - - - 1 1 9 


CHAP.  VIII. 


The  Art  of  Dying  Woods,  Bones,  &c. 


1 . Composition  for  red 

- 

- 

119 

; Another  red 

- 

- 

ib. 

3.  Another  way  * - 

- 

- 

ib. 

4.  To  dye  wood  in  a purplish  colour  - 

- 

- 

ib. 

; . A blue  purple 

- 

- 

120 

6.  Another  - 

- 

- 

ib. 

7 A blue  for  wood  - 

. 

- 

ib. 

8.  A green 

- 

ib. 

9.  A yellow  - - 

- 

- 

ib. 

1-0.  Another  yellow  - 

- 

- 

ib. 

11.  Another  finer  yellow 

- 

* 

ib. 

12.  To  dye  wood  in  a fine  polished  while 

- 

- 

121 

13.  To  dye  in  polished  black  - 

- 

ib. 

14.  Another  way 

- 

- 

ib. 

15.  To  imitate  ebony  - 

- 

- 

ib. 

16.  Another  way  - - ♦ 

- 

ib. 

17.  Another  way  ... 

- 

- 

ib. 

18.  A fine  black,  easily  made  - 

ib. 

19.  To  dye  wood  silver  fashion 

- 

- 

INDEX. 


Art 

20. 

21. 

22. 

23. 

24 

25 
26. 

27. 

28. 

29. 

30. 

31. 

32. 

33. 

34. 

35. 

36. 

37. 

38. 

39. 

40. 

41. 
42 

43. 

44. 

45. 

46. 

47. 

48. 

49. 

50. 

51. 

52. 

53. 

54. 

55. 
56 
57. 


To  dye  in  gold,  silver,  or  copper  . 

To  give  nut,  or  pear-tree,  what  undulation  you  like 
To  imitate  the  root  of  nut-tree  - 
To  give  a fine  colour  to  the  cherry-tree  wood 
To  marble  wood  - 
To  imitate  white  marble  - 

To  imitate  black  marble  - - 

A counter-faction  of  coral  - 
To  take  the  impression  of  any  seal 
Another  way  - 
To  get  birds  with  white  feathers  - 
To  soften  ivory  - - - 

To  dye  ivory  thus  softened  - 

Another  way  to  soften  ivory 
To  whiten  ivory  which  has  been  spoiled  - 
To  whiten  green  ivory  : a,%  1 whiten  again  that  which  has 
turned  a brown  yellow  - 
To  petrify  wood,  &c.  - 

To  imitate  tortoiseshell  with  horn 
A preparation  for  the  tortoiseshell 
To  dye  bones,  and  mould  them  in  all  manner  of  shapes 
To  dye  bones  in  black 

To  soften  bones  - - - - 

To  dye  bones  in  green  - 
A salt  for  harden  ng  soft  bones  - 
To  make  figures,  or  vases,  with  egg  shells 
To  dve  bones  and  ivory  of  a fine  red 
To  make  a paste  in  imitation  of  black  marble 
To  dye  marble,  or  alabaster,  blue  or  purple 
To  soften  amber,  other  wise  karabe 
To  whiten  ivory  which  has  been  spoiled  - 
To  whiten  bones  . 

To  dye  bones  in  green  - - 

To  bronze  wooden,  plaister,  ivory,  or  other  figures,  so 
that  the  bronze  may  stand  water  forever 
A water  to  dye  bones  and  wood  - 
To  dye  bones  and  ivory  an  emerald  green 
To  whiten  alabaster  and  white  marble 
To  dye  wood  vermilion  colour  - - 

To  soften  horn,  so  that  you  may  cast  it  in  a mould  as  mel- 
ted lead  - 

CHAP.  IX. 

Of  Casting  in  Moulds. 

1.  How  to  cast  figures  in  moulds  - 

2.  To  cast  a figure  in  bronze 

3.  How  to  gild  such  sorts  of  figures  - 

4.  Of  the  choice  and  composition  of  metals 


Page 

122 

ib. 

ib. 

ib. 

123 

ib. 


ID. 

ib. 

124 
ib. 
ib. 

125 
ib. 
ib. 

ib. 

ib. 

126 
ib. 
ib. 
ib. 

127 
ib. 
ib. 
ib. 

128 
ib. 
ib. 
ib. 

129 


i!i, 
1 30 


ib. 


131 

ib. 

137 

138 


INDEX. 


CHAP.  X. 

Secrets  relative  to  the  making  of  curious  and 
useful  sorts  of  Ink. 

Art.  Page 

1.  A good  shining  ink  ...»  139 

2.  To  write  on  grease,  and  make  the  ink  run  on  it  . ib. 

3.  An  ink-stone,  with  which  ink-stands  may  be  made,  and 

with  which  you  may  write  without  ink  . ib. 

4.  To  write  with  common  clear  water  . . 140 

5.  A good  ink  both  for  drawing-  and  writing  . ib. 

6.  To  make  very  good  ink  without  gall-nuts,  which  will  be 

equally  good  to  wash  drawings  and  plans,  and  strike 
very  neat  lines  with  the  pen  ...  ib. 

7.  An  invisible  ink  . . * . . 141 

8.  Another  way  . . . . ib. 

9.  To  make  good  India  ink  ....  ib. 

10.  Red  ink  . . . . . . ib. 

11.  A green  ink  .....  ib. 

1 2.  Tomake  an  ink  which  appears  and  disappears  alternately  1 42 

13.  The  invisible  method  of  conveying1  secrets.  1st  ink  ib. 

14.  An  ink  to  write  over  the  other.  2d  ink  . . ib. 

15.  Another  ink  which  effaces  the  second  and  makes  the 

first' appear.  3d  ink  ....  ib. 

16.  An  ink  which  will  go  off' in  six  days  . . 143 

17.  Another  which  you  may  rub  off  when  you  please  ib. 

. 10.  Powder  ink  .....  ib. 

19.  An  exceeding  good  writing  ink  . . ib. 

20.  A gold  colour  ink,  without  gold  . . . ib. 

21.  Another  way  . . . . . . 144 

32.  To  write  in  silver  without  silver  ...  ib. 

23.  A good  shining  ink  ....  ib. 

, 24.  A blue  ink  . . . . . ib. 

25.  A yellow  ink  .....  ib. 

26.  A green  ink  which  may  keep  two  years  . . ib. 

27.  A shining  ink  .....  14-5 

28.  A way  of  writing  which  will  not  be  visible,  unless  you 

hold  the  paper  to  the  sun,  or  to  the  light  of  a candle  ib. 

29.  A secret  to  revive  old  writings  which  are  almost  defaced  ib. 

30.  To  write  in  gold  or  silver  letters  ...  ib. 

31.  An  iris  on  white  paper  ....  ib. 

32.  A shining  ink  . . . . . 146 

33.  A common  ink  . . ...  . ib. 

34.  How  to  prepare  printers  ink  ...  ib. 

35.  The  preparation  of  the  ink  which  serves  to  write  inscrip- 

tions, epitaphs,  &c.  on  stones,  marbles,  &c.  . 147 

36.  The  various  ways  of  making  an  ink  for  writing.  1st  me- 

thod . . . . . • ib. 

37.  Another  way.  2d.  method  . . ib. 


INDEX, 


Art.  page. 

38.  Another  way.  3d  method  . . . 147 

39.  Another  way.  4th  method  . . . ib. 

40.  Another  way  5th  method  , . . 14  5 

41  Another  way.  6th  method  ...  ib. 

42  Another  way.  7th  method  ...  ib. 

43.  Another  way.  8 h method  ...  ib. 

44  Another  way.  9th  method  . . # U9 

40.  An  ink  which  may  be  made  instantly  . . ib. 

46.  Another  way  to  the  same  purpose  . . ib. 

47.  A portable  ink,  without  either  gall-nut  or  vitriol  . ib. 

48.  Another  portable  ink,  in  powder  . . . 150 

49.  Another  portable  powder,  to  make  ink  instantly  . ib. 

50  Another  sort  of  powder  to  the  same  purpose  . ib. 

51  A yellow  ink  . ib. 

52.  Another  way  . . . . # 151 

53.  Another  way  .....  ib. 

54.  Another  sort  of  yellow  liquid  ...  ib. 

55.  Another  way  .....  ib. 

56.  Another  way  superior  to  all  the  rest  . . ib. 

57.  Of  the  use  of  sugar-candy  in  ink  . . . 152 

58.  A sort  of  black  ink  for  painting  figures,  and  to  write  upon 

stuffs,  and  linen*  as  well  as  on  paper  . . ib. 

59-  To  prevent  ink  from  freezing  in  winter  . . ib. 

60.  How  to  renew  old  writings  almost  defaced  ib. 

61.  A green  ink  .....  ib. 

62.  Another  way  . . . . ib. 

63.  To  write  in  gold  letters,  on  iron  or  steel  . . 153 

64.  An  ink  which  writes  like  silver,  without  silver  in  it  ib- 

65  To  write  on  silver  in  black  which  will  never  go  off  ib, 

66.  A fine  black  ink  which  has  the  smell  of  roses  ib. 


CHAP.  XL 

Secrets  relative  to  Wine. 


1.  To  make  a vine  produce  a sweet  wine  . . 154 

2.  To  make  a sweet  wine  of  a very  agreeable  flavour,  and 

besides  very  wholesome  . . . Ib. 

3.  To  clarify  in  two  days  new  wine  when  muddy  . ib. 

4.  To  make  the  wine  keep  mout,  or  unfermented,  fa- 

twelve  months  .....  ib. 

5.  To  clarify  a'  wine  which  is  turned  . . 155 

•6.  To  prevent  wine  from  corrupting  - . ib. 

7.  To  prevent  wine  from  growing  sour,  and  turning  into 

vinegar  . . • • • ib. 

8 To  restore  a wine  turned  . . . . ib. 

9.  To  restore  wine  fusted  or  tasting  of  the  cask  . ib, 

10.  To  prevent  wine  from  pricking  . . . ib. 

11.  To  make  wine  keep  ....  1S6 

12.  To  clarify  wine  easily  ....  ib. 

13.  To  prevent  wine  from  turning  . ib. 

L i 2 


MDEX, 


Art. 

14.  To  correct  a musty  taste  in  wine  . . 1.56 

15..  To  correct  a sour  and  bitter  in  wine  . . ib. 

16.  To  restore  a spoiled  wine  . , . ib. 

17- To  sweeten  a tart  wine  ....  ib. 

18.  To  prevent  tartness  in  wine  . . . 157 

19.  To  heighten  a wine  in  liquor,  and  give  it  an  agreeable 

flavour  .....  ib. 

20.  To  give  a most  agreeable  flavour  . . ib. 

21.  How  to  find  out  whether  or  not  there  be  water  mixed  in 

a cask  of  wine  ....  ib. 

22.  To  separate  the  water  from  the  wine  . . ib. 

23.  To  ungrease  wine  in  less  than  twenty -four  hours  ib. 

24  To  cure  those  who  are  too  much  addicted  to  wine  15$ 

25  To  recover  a person  from  intoxication  . . ib. 

36.  To  preserve  wine  good  to  the  last  , , ib. 

27.  To  make  currant  wine  , . . ib. 

28.  To  make  excellent  wine  of  apple  cider  . . 159 

29.  Another  method  . . . . 160 

30.  Maple  wine  . . . . ib. 

CHAP.  XXL 


Concerning  the  Composition  of  Vinegars. 


1.  To  make  good  wine  vinegar  in  a short  time  . 161 

2.  To  change  wine  into  strong  vinegar  . . ib. 

3.  To  make  very  good  and  strong  vinegar  with  the  worst 

of  wines  . . . . . ib. 

4.  To  turn  wine  into  vineg'&r  in  less  than  three  hours  ib. 

5.  To  restore  such  a wine  to  its  own  taste  . . ib. 

6.  An  excellent  preparation  of  vinegar  . , ib. 

7.  To  render  vinegar  alkali  . . . . 162 

8.  To  make  in  one  hour  good  rose  vinegar  . . ib. 

9.  Another  method  to  make  such  vinegar  in  an  instant  ib. 

10.  To  operate  the  same  in  one  hour’s  time,  on  a larger 

quantity  of  wine  ....  ib. 

11.  The  receipt  of  the  vinegar  called  the  Grand  Constable’s 

vinegar  . . . . . ib. 

12.  A secret  to  increase  the  strength  and  sharpness  of  the 

vinegar  . . . . . 163 

13.  Another  way  to  do  the  same  . . . ib. 

14.  The  secret  for  making  good  vinegar,  given  by  a vinegar- 

man  at  Paris  .....  ib. 

15.  To  make  vinegar  with  water  . . . 164 

16.  To  make  good  vinegar  with  spoiled  wine  . ib. 

17-  A dry  portable  vinegar,  or  the  vinaigre  en  poudre  ib. 

1 8.  To  make  maple  vinegar  ....  ib. 

CHAP.  XIII. 


Secrets  relative  to  Liquors  and  Essential  Oils. 

1.  To  make  as  good  wine  as  Spanish  wine  . . 163T 


INDEX. 


Art.  Page 

2.  To  make  tlie  rossolis  . , . . 165 

3.  To  make  a rossolis  which  may  serve  as  a foundation  to  o- 

ther  liquors  . . . . . 166 

4.  To  make  Eau  de  Franchipane  ...  ib. 

5.  Grange-flower-water  made  instantly  . . ib. 

6.  Muscadine  rose-water  ....  ib. 

7.  To  make  raspberry,  strawberry,  cherry  or  other  waters  167 

8.  Lemonade-water  at  a cheap  rate  . . ib. 

9-  Apricot-water  . . . . . ib. 

10.  To  make  exceeding  good  lemonade  . . ib. 

11.  To  make  orangeade  the  same  way  . . ib. 

12.  To  make  a cooling  cinnamon -water  * . 168 

13.  To  make  coriander-water  , . ib. 

14.  Aniseed-water  ib. 

15.  Citron-water  . . . . . ib, 

16.  Cinnamon-water  .....  ib. 

17.  To  make  cedrat -water  ....  ib. 

18.  Juniper-water  .....  169 

19.  To  make  good  hydromel,  otherwise  metheglin  . ib. 

20.  A light  and  delicate  rossolis,  known  under  the  denomi- 

nation of  populo  ....  ib. 

21.  Angelic-water  .....  ib. 

22.  The  cinnamon-water  . . . . 170 

23.  Strong  aniseed-water,  or  animated  brandy  . ib. 

24.  To  make  white  ratafia,  called  otherwise  eau-de-Noaiu, 

or  kernel-water  . . . . ib. 

25.  An  exceeding  good  ratafia  ...  ib. 

26.  A smelling  water  . . ...  171 

27.  To  make  a Sherbet,  a Persian  species  of  punch  . ib. 

28.  To  make  Yin  des  dieux  . . . ib. 

29.  Burnt  wine  . . . . . 172 

30.  To  imitate  muscat  wine  ....  ib- 

31.  A violet- water  . . . . ib. 

32.  To  make  a clear  and  white  hypoeras  . . ib. 

33.  To  make  the  true  eavi-de-Noiau  . ib. 

34.  An  admirable  oil  of  sugar  . . 173 

35.  An  admirable  essence  of  red  sugar  . . ib. 

36.  Another  oil  of  sugar,  excessively  good  . . ib. 

37.  To  extract  the  essential  oil  from  an}'  flower  . 174  . 

38.  Essence  of  jessamine,  roses  and  other  flowers  ib. 

39.  The  oil  of  cinnamon  ....  ib. 

40.  To  draw  the  essential  oil  of  roses  . . ib. 

41.  An  essence  of  jessamine  ....  175 

42.  Essence  of  ambergris  ...  ib. 

43.  Essence  of  capons  and  other  fowls  . . ib, 

44.  Virginal  milk  . . . . . ib. 

45.  How  to  colour  any  sort  of  liquor  . . 176 

46.  A ladies  fine  rouge,  not  at  all  hurtful  to  their  skin  like 

other  rouges,  wherein  there  always  enters  a mixture 
of  lead  or  quicksilver  . . . ib. 

47.  A fine  smelling  water  at  a small  expellee  ib. 

43.  To  make  an  imitation  of  coffee  . . -ib. 


INDEX. 


Art. 

49  Another  way  . 

50  Directions  for  preparing*  the  true  coffee 
51.  A receipt  for  making  of  chocolate 

CHAP  XIV. 

Secrets  relative  to  the  Confectionary  Business. 


1.  Raspberry  syrup  . . . . . 179 

2.  Apricot  syrup  .....  ib. 

3.  The  verjus  syrup  .....  ib. 

4.  A general  manner  of  making  syrups  applicable  to  most 

sorts  of  syrups*  especially  currants  . . ib. 

5.  To  make  liquid  currant  jam  . . . 180 

6.  To  make  the  same  with  cherries  . . . ib. 

7-  Another  way  to  preserve  cherries  . . . ib. 

8 . To  make  the  liquid  raspberry  jam  . . . 181 

9.  To  preserves  apricots  ....  ib. 

10.  How  to  make  a dry  preserve  of  them  . . ib. 

11.  To  preserve  green  apricots  . . . 182 

12  To  make  the  cotignac  liquid  . . . ib. 

13.  To  preserve  quinces  in  red  . . . 183 

14  To  do  the  sa  ne  in  white  . . . . ib. 

15  To  preserve  rousselet,  muscadine,  and  other  pears  ib. 

16.  A preserve  of  green  almonds  ...  184 

17.  To  make  dry  portable  cherries  . . . ib. 

IB  To  make  an  apricot,  or  peach  jam  . . ib. 

49.  An  apricot  jam,  after  the  French  way  . . 185 

20.  To  make  raspberry,  currant,  and  cherry  jam  . ib. 

21.  To  make  a good  currant  jelly  ...  ib. 

22  To  make  an  apple  jelly  ....  186 

23.  A conserve  with  raspings  of  Portugal  oranges  and  le- 

mons, conjointly  or  separately  . . . ib. 

24.  To  whiten  cherries,  currants,  raspberries,  grapes,  straw- 

berries, and  such  like  fruits  . . . ib. 

25.  To  make  savoy  biscuits  ....  ib. 

26.  To  make  bitter  almond  biscuits  . . • ib. 

27.  How  to  preserve  orange  peels  all  the  year,  but  especially 

in  May  . . . . . 187 

28  To  make  a paste  with  whatever  fruit  it  may  be  . ib. 

29.  Genoa  biscuits  . . . . . ' ib. 

30.  The  Queen’s  cakes  or  biscuits  . . * ....  388 

31  Macaroons  . . . . 0 ib. 

32  Particular  method  of  making  cakes  . . ib, 

35.  A cream  which  cuts  as  a rice  pudding  . . ib. 

34.  To  make  an  exceeding  good  boiled  cream  . 189 

35.  A method  of  making  cakes  exceeding  fine  . ib. 


CHAP.  XV. 

Secrets  relative  to  the  art  of  preparing  Snuff. 

1.  How  to  reduce  tobacco  into  powder  . . . 190 

2.  How  to  purge  snuff  and  prepare  it  for  admitting  of  odours  ib. 


Page 

177 
ib. 

178 


mDEX. 

Art.  Page 

3.  How  to  perfume  snuff  with  flowers  . 191. 

4.  Snuff  of  mille-fleurs  . . . . . ib. 

5.  The  .odoring  snuff,  after  the  method  practised  at  Home  ib. 

6.  Amber  snuff  . . . . . ib. 

7.  The  odoring' snuff,  Malthese  fashion  . . ib. 

8.  The  true  Malthese  method  of  preparing  perfumed  snuff  192 

9.  The  Spanish  method  of  preparing  perfumed  snuff  . ib. 

CHAP.  XVI. 


Secrets  of  taking  out  Spots  and  Stains. 


1 . To  take  off  iron  moulds  from  linen  . . 193 

2.  To  take  off  carriage  wheel  grease  from  clothes  . ib. 

3.  Against  piss  spots  . . . . . ib. 

4.  To  take  off  spots,  from  cloth  of  any  colour  . . ib. 

5.  A receipt  against  all  sorts  of  spots  from  stuff  * ib. 

6.  Against  oil  spots  .....  ib. 

7 A washing  ball  to  take  off  spots  . . * 194 

8.  To  take  out  pitch  and  turpentine  spots  . . ib. 

9.  Against  ink  spots  whether  on  cloth  or  linen  . ib. 

10.  Another  simple  remedy  against  ink  when  just  spilled  ib. 

1 1.  Against  oil  spots  on  satin,  silk,  stuff,  or  paper  . >95 

12.  A preparation  of  balls  against  spots 

33.  For  silk  ------  ib. 

14.  To  restore  gold  and  silver  laces  to  their  former  beauty  ib. 

15.  To  restore  turkey  carpets  to  their  first  bloom  - ib. 

16.  To  make  tapestries  resume  their  first  brightness  when 

their  colours  have  been  tarnished  and  spoiled  - 196 

17.  To  take  off  spots  of  wax,  from  velvet  of  any  colour  ex- 

cept the  crimson  . ib. 

18.  To  take  the  same  from  silks  and  camblet  - - ib. 

19.  To  wash  a gold  or  silver,  or  silk  embroidery,  or  any 

stuff  whatever,  and  render  it  like  new  . ib. 

20.  To  take  the  spots  from  silk  and  woollen  stuffs  - ib. 

21.  To  colour  velvet  in  red  . - - - 197 

22.  To  revive  the  colour  of  a cloth  - . - ib. 

23.  To  take  the  spots  off  from  a white  cloth  . - ib. 

24.  To  take  off  the  spots  from  crimson  and  other  velvets  ib. 

25.  To  take  off  an  oii  spot  from  cloth  - - - 198 

26.  A composition  of  soap  to  take  off  all  sorts  of  spots  ib. 

27.  ToAgke  the  spots  from  a white  silk  or  crimson  velvet  ib, 


CHAP.  XVII. 

Essays  on  various  Arts  and  Trades. 


1 . A very  strong  glue  - - - - 199 

2.  Another  glue  - - - - ib 

3.  A Parchment  glue  - 200 

4.  A strong  paste  - - - • ib 

5.  On  the  manufacturing  of  morocco  . 29  - 


INDEX. 


Page 
20  5 
206 
ib. 


and 


Art. 

6.  Another  process  of  manufacturing  morocco 

7.  On  the  use  of  acids  in  bleeching  - 

8.  An  excellent  dye,  the  basis  of  many  colours  - 

9.  Discovery  for  dyeing  cotton  and  linen,  in  scarlet,  crimson 

other  colours  - - - - 

l0-  Simple  method  of  trying  the  quality  of  gun-powder 

11.  On  dressing  sheep  skins  - 

12.  To  prevent  worms  injuring  books  - 

13.  Another  method,  by  paste  made  of  chesnuts  - 

14.  A preparation  for  the  hair  - 

15.  On  making  hair  powder  - 

16  To  make  London  court  plaister  - 

17.  Chinese  method  of  making  cloth,  &c.  water  proof 

18.  To  make  verdigrease  - 

19.  To  make  vitriol 

20.  To  make  aquafortis  - 

21.  To  make  German  black  - 

2-2.  To  make  ivory  black  - 

23.  To  make  bone  biack  r - - - 

24.  To  make  Spanish  black  /-  - 

25.  To  make  lamp  black  - 

26.  To  make  currier’s  black  - 

27.  A preparation  for  sole  leather  - 

28.  On  the  manufacturing  of  cloth,  particularly  woollen 
On  the  manufacturing  of  sal  t-petre 

30.  On  dyeing  ------ 

31.  On  bleeching  - 

32.  On  tanning  and  currying  - - 

CHAP.  XVIII. 

Essays  on  Agriculture,  and  Rural  Economy. 

1.  Preparing  the  land  for  wheat  - - - 249 

2.  Preparing  of  the  seed  wheat  - - - ib, 

3.  On  the  culture,  of  wheat  - 250 

4.  On  the  gathering  of  wheat  - - - - ib. 

5.  On  preparing  the  seed  corn  - - - - 251 

6.  Another  method  - ib. 

7.  Observations  on  increasing  the  quantity  of  Indian  corn,  by  se- 

lecting the  seed  -----  ib, 

8.  On  the  advantages  of  steeping  seed  bailey  - - ib. 

9.  On  the  advantages^  preparing  seed  oats  with  plaister  of  paris  252 

10.  On  the  culture  of  oats  - 253 

11.  On  the  culture  of  potatoes  - - 254 

12.  To  increase  your  variety  of  potatoes,  and  obtain  some  excel- 

lent kinds  -----  ib. 

13.  To  preserve  turnips  from  insects  - - - ib. 

14.  On  the  culture  of  turnips.  Another  method  - - 255 

15.  On  the  culture  of  carrots  - 256 

16.  European  method  of  cultivating  hops  - - ib. 

1 7.  On  the  culture  of  flax  - 258 

18.  Further  remarks  on  the  culture  of  flax  - - 264 

19t  On  the  culture  of  hemp  - - -.  - 266 


207 

208 

ib. 

ib. 

209 
ib. 
ib. 
ib. 
ib. 

210 
ib. 

211 

ibo 

ib. 

ib. 

ib. 

ib. 

212 

ib. 

ib. 

217 

219 

235 

27a 


INDEX, 


An. 


20. 


21, 


Method  of  preventing  the  smut  in  grain,  and  which  may  pos- 
sibly be  efficacious  in  destroying  the  Hessian  fly  - 
On  the  Hessian  fiy 


Page 

268 
269 

22.  Method  of  destroying  or  preventing  the  Hessian  fly  - ib. 

23.  On  the  culture  of  tobacco  as  practised  in  Maryland  - 270 

24.  On  the  benefit  of  salt  in  agriculture  - - 271 

25.  On  the  advantages  of  plaister  of  paris  - - ib. 

26.  Method  of  improving  old  ground,  to  make  it  suitable  for  the 

culture  of  flax  - - 272 

27.  On  clover  -----  ib. 

28.  An  excellent  and  cheap  fodder  » 273 

29.  An  excellent  substitute  for  bay  - ib. 

30.  To  prevent  the  bug  from  destroying  cucumbers  - ib. 

31.  On  the  management  of  Lambs  - - - ib, 

32.  Method  of  raising  calves  without  milk,  &c.  - 274 

33.  On  the  culture  of  the  currant  bush  - - ib. 

34.  Advantages  of  the  culture  of  the  sugar  maple  tree  - 275 

35.  To  make  maple  sugar  - - - ib. 

36.  To  make  maple  molasses  - ib. 

37.  Maple  beer  - 276 

33.  Remarks  upon  fruit  trees  - - ib. 

39.  Remarks  upon  the  planting  of  orchards  - - 277 

On  the  culture  of  the  peach  tree  - - 280 

On  the  culture  of  the  pear  tree  - 283 

On  the  cultivation  of  the  plum  tree  - - 284 

On  the  cultivation  of  the  quince  tree  - - ib. 

On  the  culture  of  the  gooseberry  - * ib. 

40.  Remarks  on  pruning  fruit  trees  - - 286 

41.  Method  of  preventing  the  destruction  of  apple  trees  by  canker 

worms  - . - - 2S7 

Remarks  on  the  culture  of  fruit  trees  « - ib. 

Pennsylvania  method  of  preventing  the  worm  injuring  peach 
trees  - - - - 288 

42.  On  thorn  hedges  - - - - ib, 

43.  Further  remarks  on  hedges  - - 290 

44.  On  the  cultivation  of  the  chesnut  tree  - - 292 

45.  Remarks  on  the  culture  of  the  oak  - - 294 

46.  On  the  cultivation  of  the  poplar  tree  « - 295 

47.  Method  of  destroying  catei  pi  liars  upon  trees  - 296 

48.  A certain  cure  for  the  measles  in  swine  - - ib. 

CHAP.  XIX. 

Essays  in  Domestic  Economy. 

1.  To  make  cyder  that  will  keep  any  length  of  time,  without  the 

trouble  of  frequently  drawing  off 

2.  To  make  mead  - 

3.  An  approved  method  of  preserving  the  fine  flavor  of  butter, 

and  of  preventing  its  growing  rancid 

4.  Another  excellent  composition  for  preserving  butter 

5.  On  salting  beef  - 

6.  Method  of  curing  hams,  to  resemble  those  of  Westphalia 


297 

ib. 

298 

ib. 

ib. 

ib. 


IXDEX. 


Art.  Page 

7 . Method  of  purifying  tallow,  to  make  candles  - 299 

8.  To  preserve  parsnips  and  various  other  roots  - ib. 

9.  Chinese  manner  of  curing  Gensing  - - ib. 

10.  On  the  culture  and  curing  of  Gensing.  Another  way  - 300 

11.  On  the  manufactory  of  kelp  - - ib. 

12.  On  making  barilla  ~ ib. 

13.  Method  of  making  pearl-ashes  as  practised  in  Hungary  and 

Poland  - - - - 301 

CHAP.  XX. 


Medical  Receipts,  & c. 


1.  The  most  easy  and  certain  method  of  preserving  men  and  ani- 

mals who  have  been  bitten  by  mad  creatures,  from  being  sei- 
zed with  the  disorder  usually  called  the  canine  madness,  or 
hydrophobia  - - - 305 

1 Recipe  for  the  cure  of  the  scurvy,  leprosy,  &c.  - ib. 

3.  The  negro  Caesar’s  cure  for  poison,  for  discovering  which,  the 

assembly  of  South  Carolina  purchased  his  freedom,  and 
gave  him  an  annuity  of  an  hundred  pound  - 306 

4.  CsBsar’s  cure  for  the  bite  of  a rattle-snake  - - 307 

5.  On  the  cultivation  of  the  poppy-plant,  and  the  method  of 

procuring  opium  - ib. 

6.  Receipt  for  the  whooping  cough  - 308 

7.  Receipt  for  curing  weak  and  weeping  eyes  - - ib. 

8.  A receipt  for  a cold  - - - ib. 

CHAP.  XXI. 

Secrets  entertaining  and  useful. 

>.  To  whiten  wax  - 309 

2.  Another  way  of  whitening  wax  in  large  manufactories  ib. 

3.  To  make  mutton  suet  candles,  in  imitation  of  wax  candles  310 

4.  To  make  soap  - - - ib. 

3.  To  prevent  any  thing  from  burning  in  the  fire  - 31 1 

6 To  prevent  burning  one’s  fingers  in  melted  lead  - ib. 

7.  A fire  which  cannot  be  extinguished  by  water  - ib. 

8.  To  prevent  the  oil  of  a lamp  from  smoaking  - ib. 

9.  To  make  an  incombustible  wick  - - ib. 

10.  A stone  which  is  inflammable  with  water  - - 312 

M.  A receipt  to  make  the  true  phosphorus,  extracted  from  urine, 

and  w hich  is  inflammable  by  the  air,  so  that  pieces  of  wood 
may  be  lighted  by  it  - - - ib. 

12.  Fruit  To  preserve  trees  from  being  injured  by  wrorms,  cater- 

pillars, &c.  - - - - 313 

13.  To  kill  ali  sorts  of  worms  - - ib. 

J4.  To  kill  maggots  in  sheep  - - - ib. 

On  DISTILLING.  - - - 314 

On  BREWING.  - - - . 368 


